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Claire Horne Creative Graphic Designer CV and Portfolio +44(0)7930 483336

Claire Horne BA (Hons), MA, MISTD W: M: +44 (0) 7930 483336 E:


I'm a multidisciplinary graphic designer who thrives on concept and beautiful design. I believe that intelligent and simple ideas are the foundation to creating successful design. I have a passion for typography, layout and identities. I also enjoy creating graphics that can work across multiple platforms.

Qualifications 2011 – 2013

MA Narrative Environments, Central Saint Martins BA (Hons) Graphic Design, Camberwell College of Arts

2007 – 2008

Foundation Art and Design, Ravensbourne

Additional training

CITB Health, Safety & Environment


– Using Mac and PC – Adobe Photoshop – Adobe Illustrator – Adobe InDesign – Adobe Dreamweaver – Adobe Lightroom – Adobe Flash

– Final Cut Pro – Google SketchUp

April – October 2017

Adobe ACA Photoshop Accredited, Morley College 2012 – Concept generation – Research and moodboard generation – Design development – Producing brand guidelines

– Artworking – Print and digital – Layout design – Identity design – Presentation design – Collaboration

Entry won to the International Society of Typographic Designers (MISTD), 2017

October 2017 – Present

Waterstones – Mid Weight Graphic Designer Working on all E-commerce customer facing platforms and campaigns. Developing a strong and consistent visual identity and redefining how they sell books online aesthetically. Working on a wide variety of projects, the creative direction of campaigns, maintaining brand guidelines and producing compelling design solutions whilst delivering outstanding visual content across multiple platforms and devices on a daily basis.

– Keynote – HTML and CSS knowledge


2008 – 2011


Technical skills

Imprint group – Lead Creative Graphic Designer

Creative graphic designer for Imprint Group, one of the UK’s leading manufacturer and supplier of point of sale (POS), point of purchase (POP) and large format outdoor media.

January 2014 – April 2017

Easy Tiger Creative – Graphic Designer

August – October 2012

Bibliothèque – Graphic Design Intern

May – August 2012

Studio Frith – Graphic Design Intern

July – August 2011

Bexley Council – Freelance Graphic Designer

February – April 2011

Bexley Council Graphic Department – Graphic Design Intern

Working primarily for Jaeger – a world class, contemporary British fashion brand. Managing all visual expression of the brand and making sure it is translated across a variety of media – packaging, windows, point of sale, promotional campaigns, logos, brochures, leaflets, direct mail, press packs, and advertising. This involves working with the marketing and visual merchandising teams. Researching, developing and designing new window display and campaign concepts and graphics. Producing visuals of window designs for mainline and concession stores. Creating window layouts and POS for varying store sizes across the business. This involves having to work at pace and deliver to critical paths and deadlines. I am able to take all designs from concept right through to delivery. Artworking for large scale and for print ready graphics / imagery.

Working in a multidisciplinary design studio on a wide range of cultural and commercial projects. Ranging from branding to exhibition design. Working throughout every design stage – pitches, research, concepts, design development, artworking and production. Collaborating and liaising with 3D designers, clients, consultants, subcontractors and working independently Clients included the National Trust, Dublin Zoo, the British Library, and the Football Association (FA).

National Trust, Lyme – identity design (concept proposal) Concept: inspired by watercolours of the dramatic moorlands around Lyme I produced a visual language for that could be used alongside the NT branding.

Role: lead graphic designer Studio: Easy Tiger Creative


Patterns found at Lyme

Inspiration from watercolour paintings of moorland around Lyme

Lyme icons

Inspired by old sketchbooks / collage layouts

Layout and content sketches

Interpretation and signage

Inspired by antique painting easels

The History of Magic, British Library – exhibition design Concept: the overall design scheme for the exhibition was the British Library transforming into Hogwarts Library. The graphics were inspired by antique books and library catalogue cards. I worked on the overall look and feel of the spaces this included graphics, colour schemes, materials and props.

Role: lead graphic designer in concept and design development Studio: Easy Tiger Creative

A- text oversized magic book concept visuals - magic bursting out from the books

Astronomy and Divination

Care for Magical Creatures

Graphic Development

Inspiration from library catalogue cards

Potions and Alchemy

Defence Against the Dark Arts

Care for Magical Creatures

Astronomy and Divination


Charms and Transfiguration

Room schemes with colour and texture moodboards

Lighting filter – Lee Filters, Cold Blue

Section case cloth – Pongees, Apple 0014

Harry Potter case cloth – Pongees, Slate 0269

Waterstones Plus Loyalty – identity design Concept: the Waterstones Plus loyalty visual language derived from paper collage. Waterstones wanted to push the other elements to their business – not only a bookshop. The collage was a perfect device to showcase these different elements.


Role: lead graphic designer Company: Waterstones

Paper college with silhouette icons

Layout and content sketches

Social media idea – using cut out templates to take photos and share them online

Melrose and Morgan – seasonal marketing and packaging Concept: the Melrose and Morgan branding features strong and bold typography. I produced a Christmas visual language that featured traditional Christmas phrases and carols. These could be used across different formats and mediums.

Role: graphic designer working on concept and design development. Studio: Studio Frith

The British Motor Museum – exhibition design Concept: the £1.1 million refurbishment was inspired from road graphics and vintage car adverts. These were developed to create a contemporary and bold setting of the reorganised space.


Role: one of two lead graphic designers working on every design stage. Studio: Easy Tiger Creative



Heading (Sub-heading)

Who made it? Far far aw ay, behind the word mountains, far from the countries Vokalia and Consonantia , there live the blind tex ts .

Why here? Far far aw ay, behind the word mountains, far from the countries Vokalia and Consonantia , there live the blind tex ts .

Why here? Vehicle details


Social context


Far far aw ay, behind the word mountains, far from the countries Vokalia and Consonantia , there live the blind tex ts .

Enduring Eye, Royal Geographical Society – exhibition design (concept proposal) Concept: the Antarctic ice played a huge part in Sir Ernest Shackleton’s expedition. Therefore the graphics took inspiration from this. The kerning in the typography referring to compacted ice and the ice breaking apart. And the angular and disjointed shapes of the landscape influencing the 3D elements.

Role: lead graphic designer Studio: Easy Tiger Creative


Compacted ice, stranded in the sea – tight kerning, bold typography

‘ I T WA S A S I C K E N I N G S E N S A TA T I O N T O F E E L T H E DECKS BREAKING UP’ Ernest Shackleton, expedition leader

Ice breaking up – open kerning, light typography

Fragmented / angular / layered structures

Curraghs Wildlife Park – identity design Concept: the idea of biodiversity was a strong theme for the wildlife park. I produced a modular system that allowed the idea of biodiversity to be represented visually using organic shaped mosaics. This allowed subjects and elements of the park to come together.

Role: lead graphic designer Studio: Easy Tiger Creative

Examples of icons

Concept sketch – biodiverse mosaics, different elements coming together

African Crested Porcupine

Chilean Flamingo

Brazilian Tapir

Humboldt Penguin

Greater Rhea

Veg Vegetables / agricultural crops






Sea with mountains

Wetlands / swamps / marshes

Desert / scrub


Inspired by organic shaped mosaics


Logo design development / ideas

The old logo and a design example

The exclusion zone = 15% of its full height

New 'pebble' logo and it's different colour ways

Mosaic layout concept sketches

Extracts from the visual language guidelines

Ardley Viridor ERF Visitor Centre –exhibition design Concept: the main purpose of the visitor centre was to inform school children and members of the public about the plant. Therefore the concept was based around the working plant. The graphics were inspired by signage and patterns that could be seen around the plant.

Role: one of two lead designers working through every design stage. Studio: Easy Tiger Creative Awards: CIWM Sustainability and Resource Learning Development Award in 2015.


Inspired by patterns and graphics around the plant


Conversion to a transportable form of energy – the heat from the thermal treatment step is used to make high pressure superheated steam which is used to drive a turbine which generates electricity. Hot water or steam can also be piped outside the plant to provide a source of heat for other industries, offices or homes or for commercial projects using heat.


The steam drives a turbine which powers a generator.


Some of the electricity is used to power the plant. The majority is exported to the National Grid.


Steam can be taken off for district heating.

How an Energy Recovery Facility works.




Sort your waste at home (remember to reduce, reuse, recycle first).


Your residual (left over) waste is then collected and taken to Ardley ERF.


Water flows through pipes in the opposite direction to the gases. It is heated until it becomes superheated steam.


Lime and carbon are added to remove acid gases and adsorbs heavy metals, dioxins, and PCBs (polychlorinated biphenyls).


Gases are filtered through bag filters to remove particles and this gives rise to a reaction product known as Air Pollution Control Residue (APCR).


Clean gases, steam and CO2 are released from the chimney.


APCR is removed from site for processing and will be recycled in the future.

Two cranes feed the waste into one of two furnaces where it is burnt at over 850°C. Air is injected to ensure that the waste is fully combusted.

The waste is mixed and managed in the waste bunker.


Incinerator Bottom Ash from the furnace is discharged into a conveyor.

14 A reception area to receive the waste and get it ready for combustion – this includes a very large bunker, capable of holding several days’ waste which ensures there is always a stockpile of waste (fuel) available to keep the plant operating; and also ensures there is somewhere to put waste deliveries should the plant temporarily shut down.

Thermal treatment releases the energy from the waste.

Ferrous and non-ferrous metals are separated from the Incinerator Bottom Ash (IBA) and are recycled.


The IBA is processed and recycled as an aggregate for road construction and other purposes.

Jaeger – window scheme design (work in progress) Concept: Jaeger are moving away from using printed hanging boards to more prop based window schemes. The summer collection is inspired by oriental floral patterns. I have started to develop schemes that reflect these designs and take inspiration from the collection.

Main fabric pattern and colours

Role: lead graphic designer Company: Jaeger

Jaeger – loyalty and VIP cards (work in progress) Concept: Jaeger are re-doing their loyalty card scheme. The concept is to promote the companies strong heritage and to reposition the brand as a high end fashion retailer.

Role: lead graphic designer Company: Jaeger

Thank you +44(0)7930 483336

Claire Horne CV and Portfolio  
Claire Horne CV and Portfolio