The project focuses on communication under pressure · menus, signage, and information that must be immediately understood in transitional spaces. The approach begins with structure: a consistent grid, clear typographic hierarchy, and a reduced set of visual elements.

Rather than introducing a new visual language, the system works through refinement. Existing elements are reorganised and simplified, allowing information to emerge with greater clarity. Typography becomes the primary tool · scale, spacing and alignment guide reading behaviour, reducing friction in moments of decision.

The result is a quieter form of identity · one that operates through use rather than visibility.

The collection is a translation of movement. The brief required capturing the life of the sea without literal representation · so I developed high-contrast motifs that mimic tides and the rhythmic structure of coral and flora.

Sinuous wave-like lines and explosive botanical forms are scaled to interact with the garment's architecture, ensuring the pattern's logic holds from swimwear to the fluid drape of a maxi-silhouette.

The palette · chromatic teals, deep corals, stark monochromes · acts as a navigational tool distinguishing the collection's various depths. Nature here is not just a motif, but a framework.

Estate photography, at its best, is an argument · a case made in light, angle and moment for why a space deserves to be inhabited by the person looking at it.

This commission was for a converted Victorian warehouse apartment in London. The space is defined by its contradictions: exposed brick walls and steel I-beams alongside glass mezzanine balustrades and oak floors. The double-height living volume demanded to be understood spatially, not just decoratively.

The photography works through patience and available light · no artificial sources, no staging beyond the existing furniture. Each frame communicates volume and materiality simultaneously. The view of St Paul's Cathedral that appears without warning from the upper level is the image that closes the sequence.

The brief was open: make something that feels like the record sounds. Abana's music sits at the intersection of jazz structure and loose, hazy energy. The illustration had to hold that duality without explaining it.

The approach was deliberately naïve in technique but precise in composition. A single character anchors both covers · on the front he plays, swallowed by his instrument and the smoke rising from it. On the back he turns away, the story told without words.

Five colours, no gradients, no digital polish. The hand-drawn line is the only tool. BAS002 · Congaloid, 2016.

Ivreatronic is an independent electronic label from Ivrea, a small city in northern Italy known for its medieval castle and the dense forests surrounding it. The brief was simple: something fresh, something that feels like the music.

The artwork puts two elements of the town's physical reality · the castle silhouette and wild overgrown nature · into a single compressed scene that reads like a moment between day and night. Both rendered in silhouette, stripped of detail.

The gradient · from saturated magenta through cobalt blue · gives the image its energy, referencing rave-era graphics without copying them. Applied across hoodies and t-shirts with a chromatic logotype treatment that mirrors the artwork.

Spatial design begins before a single wall is touched. The challenge is convincing someone that a space can be fundamentally different from what they're looking at. Visualisation bridges that gap.

This project is a renovation proposal for a residential apartment in Italy · good bones, but cluttered form and unclear spatial logic. The commission was to reimagine it as a coherent, contemporary home without expanding its footprint.

The proposal centres a warm material palette: natural oak cabinetry, marble worktops, oak flooring. A continuous low unit running the main space doubles as kitchen island, sofa back and writing desk · three programmes collapsed into one gesture. Rendered in warm ambient light to communicate atmosphere, not just layout.

Animation offers what most visual disciplines don't: time. Not just to show a thing, but to let it move, transform and accumulate meaning in sequence. This project was a complete single-author commission · concept, storyboard, hand-drawn frames, final edit.

The track · warm, textured, deeply rhythmic · asked for something handmade rather than produced. The response was an illustration-based animation drawn entirely by hand: loose, organic mark-making that follows the music's logic rather than illustrating it literally.

A small number of recurring motifs · figures, light, landscape · shift and transform across the video's duration, treated as elements of a system rather than a narrative. The editing mirrors the track's structure: expansive slow passages punctuated by moments of dense visual energy.