Emily Grace Knevett

Graphic Design graduate with an eye for detail and an affinity for handicrafts and analog processes. Member of the International Society of Typographic Designers following a successful submission to their Student Assessment, and recipient of the Sarah Boris Creativity Award 2025 at the University for the Creative Arts.  

The Private Chef (Winning ISTD Submission)
LOOP (A Typeface Engineered for Crochet)
Depop Direct (D&AD New Blood)
Vodafone Business Live Brief

hello@emilyknevett.com
@egdesign

The Private Chef (Winning ISTD Submission)

Successful submission to the International Society for Typographic Designers (ISTD) Student Assessment. Controlled and impersonal recipe layouts inspired by commercial cookbooks are progressively broken down into faded forms resembling water marks and ink bleeds, a reflection of the changes that physical recipes go through as we use them and assign individual meanings to them.

The publication disguises itself as a folder to further establish the narrative journey from a commercial item to a singularised artefact.

Printed on GF Smith Colorplan and assembled using metal binding clips.

LOOP (A Typeface Engineered for Crochet)

Sarah Boris Creativity Award 2025-winning typeface LOOP is a scalable display face engineered for crochet, driven by research into yarn as an unexpected and communicative medium for climate activism. At the 2025 University for the Creative Arts Grad Show it manifested as a three-meter long scarf commenting on the environmental impact of acrylic yarn.

The typeface was also used in-application to brand our degree shows at the 2025 New Blood and New Designers festivals.

Depop Direct (D&AD New Blood)

A set of typographic posters displaying campaign copywriting for a hypothetical sustainable Depop service. This project was a D&AD New Blood entry and was shared by the organisation on their social media.

Vodafone Business Live Brief

I art-directed this group project under Vodafone Business. My hero images resemble a sliding puzzle, representing the lack of clarity and comfort between Vodafone Business and the trust they receive from their client base, the problem outlined in their brief.

In initial design stages I played with printed images to gain an understanding of scale and intentional divisions when fragmenting images that include faces.