Balancing emotion with function is essential when choosing a typeface for your brand.

How we speak when meeting someone for the first time influences their first impression. It’s the same with written communication. From a logo or slogan to more complex messaging or instructions — your typeface paints a picture of who you are and why you’re worth knowing. It isn’t merely a branding element. It’s your visual tone of voice and therefore central to your brand. And remember; your brand is your reputation.


The BBC recently unveiled it’s brand new master-brand (corporate) typeface, BBC Reith — a contemporary humanist font family, comprising numerous styles and weights.

As Project Lead, from inception to delivery, I feel incredibly proud of this piece of work. The stakeholder collaboration, the typographic craftsmanship and the benefits to both audience and organisation, (legibility, cost saving, distinctiveness), all make for a great story and a great typeface.


In 2016 I was invited by Glug to give a talk at their London event, held at the Trampery in Shoreditch. With no theme to respond to, I chose to chart my career evolution.


In January 2016 Computer Arts magazine reunited the five core members of renowned design studio, The Designers Republic. We were asked about our time at TDR and the design industry; then and now.

Whilst individually we see each other fairly regularly, it had been 12 years since we were all together in the same room. It was lovely to spend an afternoon reminiscing with my old friends Nick Bax, Michael Place, Matt Pyke and TDR founder Ian Anderson.

Follow this link to all five video interviews.

(I should point out that whilst this was dubbed a ‘reunion’, The Designers Republic is still in operation under Ian’s creative leadership)


Some of you will remember The Lawnmower Man, an early nineties sci-fi film in which James Bond experiments on his gardener with virtual reality. It wasn’t very good. Like Tron before it, the film left me feeling unimpressed with ‘VR’. It was cold, unrealistic and just daft looking. My ambivalence increased in the early noughties with the rise of virtual-world online gaming. The most popular of these was Second Life where users would socialise in nightclubs with rubberised perverts, and buy pixelated adidas with imaginary currency. Again, unimpressed. …


Talk: Eurobest 2014, Helsinki, Finland. (verbatim)

I joined the BBC in November 2013 shortly after our division, BBC Digital, launched Playlister, an online music service which enables signed-in users (in the UK) to curate playlists of any music they hear on the BBC. Be it on TV, Radio or online. These can then be exported to other digital music services such as Spotify. It’s a pretty neat, and it’s engaging our younger audiences with a more personalised BBC experience.

At the time of its launch a developer friend of mine questioned the need for yet another means of consuming music…


Led Zeppelin, ‘Houses Of The Holy’. Gatefold record sleeve by Hipgnosis (1973).

In 1993 I wasn’t a graphic designer. I was a well travelled skateboarder with a bar job. I’d ended a long-term(inal) relationship and was sharing a house with a cluster of hippie friends. Young and single, we existed in and out of each other’s, and other people’s, ‘bits’, and aside from the washing-up, our world was relatively carefree.

Retro guitar chivalry by the likes of Black Sabbath and The Stooges was our soundtrack. A Tribe Called Quest and Rage Against The Machine kept things current, but for me this was to be the time of my Led Zeppelin awakening.
I learned…

David Bailey

UX Principal, BBC. Former member of The Designers Republic and owner/director of Kiosk. http://davidkiosk.squarespace.com

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