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ILVE ILVE

ILVE

Design

Universal Processing

Design

Cosm

Design

Brick Wall

Design

ILVE

ILVE USA / Product tools, web and printCase study
Italian luxury appliances

Work across ILVE USA’s product tools, web pages, and print advertising: a range configurator, the Majestic III series page, the brand media center, magazine work, and the FAQ platform.

Role

Graphic design, marketing design, front-end development

Scope

Product configurator, series page, support platform, media center, print

Built with

HTML, CSS, JavaScript, Elementor, Google Apps Script, InDesign

Context

In-house at Homery, the US retailer for ILVE

01  ·  Build Your Own

A configurator for a range that is made to order.

Options5 collections
5 widths, 30 to 60 inches
Dual fuel or induction
Natural gas or propane
Solid or triple glass door
11 colors plus custom RAL
4 metallic trims

Build Your Own walks a customer from collection to finished configuration, updating the range image at every step so the choice is visible rather than described.

The preview is driven by a lookup that maps every valid combination to its own product photograph. In the current build that is 5,594 configurations across Majestic, Nostalgie, Professional Plus, and Panoramagic, keyed by size, fuel type, gas type, door type, color, and trim.

The tool itself is embedded below, running the same markup, styles, and configuration data as the live version.

View it on us.ilve.com
Build Your Own

Choose Your Collection

Start by selecting the ILVE collection you want to customize.

Step 2: Customize Your Model

Selected ILVE range
Select options to load the matching range image.

Step 3: Review Your Range

Selected ILVE range
Collection –
Size –

Selections

Live embed  ·  the production Build Your Own tool
02  ·  Installation

Installation pages for four range series.

PagesMajestic
Nostalgie
Professional Plus
Panoramagic

Four pages built to the same pattern, one per series: the measurements, clearances and cut-out dimensions an installer needs, held on the product site rather than in a PDF that has to be found and downloaded first.

The series differ enough in depth, trim and venting that a single shared page would have meant a table of exceptions. Splitting them means each page answers for one range and nothing else.

View the pages
Installation pages  ·  live Self-hosted capture

Switch series with the tabs, then scroll inside the frame. These are the production pages with the site header, footer and marketing popup removed, served from this domain so they keep working independently of us.ilve.com.

03  ·  Majestic III

A launch page for the newest Majestic series.

PageSeries introduction
Feature detail
Finish and trim options
Route into the configurator

The Majestic III page introduces the series and hands readers to Build Your Own once they want to see a specific combination, so the page carries the story and the tool carries the permutations.

View the page
Majestic III  ·  live page Self-hosted capture

Scroll inside the frame. This is the production page with the site header, footer and marketing popup removed, served from this domain so it keeps working independently of us.ilve.com. Open the original

04  ·  Print + Influencers

Magazine advertising and influencer collaboration.

PiecesTwo-page spread, 10 by 12
Dwell, full page
Point of sale

FeaturingRebecca McCullough
Christina Landsman

The print work was built around real owners rather than studio product shots. The spread runs as facing pages: a homeowner feature on the left with Rebecca McCullough in her own kitchen, photographed by Lily Pannella, and the ILVE USA Trade Program on the right featuring Christina Landsman with her Nostalgie II 40 inch.

Working with creators meant the layouts had to hold up as both advertising and as something the collaborator would want to post. The Dwell page runs on its own, leading with one configured range and pointing to the configurator rather than the homepage.

Left page of ILVE magazine spread, Timeless Customizable Italian Design, featuring Rebecca McCullough Right page of ILVE magazine spread, Join the ILVE USA Trade Program Today, featuring Christina Landsman
Two-page spread, 10 by 12  ·  homeowner feature facing the Trade Program
ILVE full-page advertisement in Dwell, headline Build Your Signature ILVE
Single page  ·  Dwell
05  ·  Support, media and partnerships

The rest of the surface area.

FAQs

A support platform behind a spreadsheet

I built the ILVE FAQ platform, then deployed the same engine for Verona. Because it is one system serving two brands, it has its own page rather than sitting here.

See the FAQ system
Media Center

Brand assets, behind an email capture

A download hub for dealers, press, and partners: brand guidelines, the logo suite in print and screen formats, master artwork, motion graphics, b-roll, and licensed typefaces.

View Media Center
Partnerships

Trade and partner touchpoints

Partnership and trade program pages, including the print side of the Trade Program shown in the spread above.

View Trade Program

Universal Processing

Before / Rebrand / Rollout

Universal
Processing

Work from my time at Universal Processing, focusing on the rebrand I led for the company.

Universal Processing mark, before the rebrandUniversal Processing mark, after the rebrand
RoleLead designer on the rebrand, later Lead Graphic Designer
OrganizationUniversal Processing LLC
ScopePre-rebrand work, identity system, standards, rollout
ContributionLed the visual development in-house, the standards, and the rollout
Part one

Before the rebrand

My work began inside the existing Universal Processing LLC identity. Before the rebrand, I designed emails, social posts, web pages, event materials, and company decks within its established visual language.

Using that system every day made its limitations clear. Years of the brand being twisted and changed in so many ways had diluted its systems and its clarity. One goal of the rebrand was to reel things back in, so we did not have 12 different shades of blue, randomly selected other colors, and 8 different sans-serif fonts all in use at once.

The UPdate company newsletter in the old identityThe UPdate company newsletter, continuedThe UPdate company newsletter, later pages
NewsletterThe UPdate, the twice-monthly company newsletter
The Universal Connection LinkedIn newsletter cover in the old identity
SocialThe Universal Connection, the LinkedIn newsletter
FilmCompany promo video, made inside the old identity. It doubles as a short introduction to what Universal Processing did.
Cover of the 2023 Dejavoo Z8 user manual, carrying the old Universal Processing mark
PrintDejavoo Z8 user manual, 2023. It shipped with the terminals, in the old identity.
Part two

Leading the rebrand

Leadership had already brought in an outside agency to run the rebrand, and by the time I was involved they had been working on it for months.

The agency had already set three things: the tagline, “Let’s Go UP!”; the web domain, letsgoup.com; and the name of the philanthropic branch, uPhil. Its first visual proposals came back rushed and under-resolved: generic ideas, uneven geometry, and colors that had not been considered.

Leadership asked me to take over the visual development in-house. I led it from July to November 2023, bringing the other designers into the refinement rounds.

01 / The mark

An obvious upward arrow took dozens of iterations.

The arrow was the immediate idea. The harder part was turning it into a mark that felt specific to Universal Processing, tied to the company’s purpose of helping small businesses grow, especially in underserved communities. Even with the arrow as the obvious answer, I worked through dozens of other directions first, to be sure there was nothing better.

01 / First move

Upward arrow

The name made upward movement the natural starting point.

02 / Dozens of studies

Narrowing the field

I worked through dozens of constructions, refining the letterforms and the geometry on each pass.

03 / Five-plus rounds

Craft mattered

Each round tightened symmetry, joins, proportions, and how the U, P, and arrow read together.

04 / Final decision

The company voted

Leadership’s vote tied, so the choice went to the full company.

Selected studies

Studies from the two working files, September and December 2023.

Two finalists

Tree / direct arrow
Bamboo / cultural origin

The executive team split evenly between a tree that read more directly as an arrow and a bamboo direction that also referred to the company’s roots serving Asian immigrant communities.

A company-wide vote broke the tie. The tree direction shown here won.

Finalist / tree, direct arrow
The tree and upward arrow finalist, which became the primary UP mark
This one won, and it is the mark still in use.
Finalist / bamboo, cultural origin
The bamboo finalist: the UP mark with a bamboo shoot growing out of the u
The other half of the tie. uPanda kept the bamboo when it got its own mark.
Before / Universal Processing LLCPrevious Universal Processing LLC wordmark
→
After / new mark + Let’s Go UPNew Universal Processing mark
02 / Building the new system

The logo was one part of a brighter, warmer fintech identity.

Mark

The new symbol kept the U, the P, and the blue. Otherwise it deliberately broke from the old chat bubble mark.

Color

I retained blue, selected a more intense shade, and added green for finance, money, and growth. I compared options, ran surveys, and consulted designers at other agencies before fixing the palette.

Type

The logo uses custom lettering designed to work with the rebrand’s rounded primary sans-serif. The friendlier forms were a conscious contrast to the sterile tone common in finance.

Brighter on purpose.

Blue and green are common in fintech. I pushed both shades to be more noticeable and more optimistic than the muted blues and greens of the traditional institutions. That mattered for who we were talking to: a lot of our small business clients had bad experiences with those larger institutions, and the palette had no reason to borrow their tone.

03 / Working reference

The standards site turned the rebrand into a usable system.

I built a shared reference for the logo, naming, color, typography, and common applications using Standards.site. The original guidelines are no longer publicly available, but the team is still working from them.

Universal Processing / Rebrand system
04 / Company perspective

Universal Processing’s own account of the change.

Universal Processing’s brand-history article places the 2024–present mark in a longer company timeline and describes the move toward a clearer, more independent full-service provider.

Read Universal Processing’s brand-evolution article ↗
Part three

The rollout

The identity was finished in November, which left the harder question of how far it had to travel before anyone inside or outside the company would treat it as real. Everything the company already had in the world still carried the old brand, and an identity that only exists in a deck does not change that. So I scoped the rollout wide: anything a customer was handed, anything the offices put up, and anything we published under our own name.

Developing it in-house also cut the company’s reliance on the outside agency’s support, which saved over $80,000. I was promoted to Lead Graphic Designer shortly after the launch.

05 / The reveal

The company announced the new identity for the first time at the 2024 gala.

The reveal

The launch was staged at the company gala in February 2024, at Glasshouse in Chelsea. Guests arrived for a cocktail hour on the twenty-first floor under the old identity, then moved down to the fourteenth floor for the presentation and dinner. Partway through the presentation, the deck transitioned and the rebrand was announced to investors, industry executives, and business partners in the room.

While dinner ran on the fourteenth floor, the marketing team who produced the event changed over every piece of decor upstairs. When guests returned to the twenty-first floor for the afterparty, the old brand was gone and the new one was already in place.

That sequence made the difference visible without a long explanation. I had completed the identity in November 2023, and it stayed inside the company until the gala three months later.

Guests at the step-and-repeat during the cocktail hour, holding hand-lettered company values
The step-and-repeat at the cocktail hour. The signs are the company values, which I lettered by hand.
Guests at the afterparty
The afterparty, once the new brand was already in place
Ashton Krow standing beside the new UP mark lit on a table at the afterparty
Me standing next to the mark on a light at the afterparty
06 / The rollout

I applied the identity across everything the company produced.

Once the identity was announced, it had to appear everywhere: the website, the packaging the terminals shipped in, the Dejavoo Z8 user manual that went in the box in English and Chinese, the merchandise handed out internally, and the uServe backwall for the trade show stand. All of it is post-rebrand collateral, so all of it sits together here.

Website

letsgoup.com

I handled the UX, visual design, and development of the rebranded website in WordPress and Elementor. I brought in outside writing help where I could. Some of the website has changed, but the original structure and design system are still in use.

UX + visual designWordPress + ElementorCopy + coordination
uPhilPhilanthropy
uPhil website experience
I designed uPhil as a distinct expression of Universal Processing’s community work while keeping it visibly connected to the parent identity.
SBA Community NavigatorPublic partnership
SBA Community Navigator Pilot Program website experience
I adapted the new system for public resources, program-specific content, and the institutional requirements of the SBA partnership.
Print

Dejavoo Z8 user manual

The manual shipped in the box with the terminals, in English and Chinese. The 2023 edition is at the top of this page in the old identity, which makes this the clearest before and after here: the same document, rebuilt in the new system.

Loading the manual

Print

Terminal box insert

This went in the box with every terminal. It is a top-fold card: the mark on the front, and inside a thank-you letter with a QR code for leaving a review.

Click it to open it.
Merchandise

Drawstring bags and stress balls

The internal merchandise run, handed out to staff and at events.

Branded drawstring backpack in the new identity
Drawstring backpack
Branded stress balls in the new identity
Stress balls
Environment

uServe trade show backwall

uServe was the group’s point of sale product, and the trade show stand was where most people met it for the first time. I built three backwall configurations so the booth could lead on a different part of the product from show to show without the whole thing being redesigned each time.

uServe point of sale trade show backwall in the new identity
One, the full product overview
uServe trade show backwall, second configuration
Two, leading on the hardware
uServe trade show backwall, third configuration with partner and certification marks
Three, carrying the partner and certification marks
Film

UP Promo Video

I creative directed this and a freelancer produced it. My part was the visual direction: how the mark, the color, and the type act in motion, and how content is visually presented. The content itself was provided by other members.

Product

UP x Secretlab

After the identity landed, Universal Processing’s CEO put us in touch with a friend of his, Secretlab’s CEO, and their chair design team. The result was a chair in the new identity for the new office building.

The brief pulled in two directions. A room full of these had to read as one company, without being too loud with the new bright palette.

The UP x Secretlab chair, back view, with Let’s Go UP! on the lumbar
BackThe face you see most often, so it is the quietest. A row of them had to read as furniture rather than as signage, so the mark sits alone on the spine and the colors stay light.
The UP x Secretlab chair, front view
FrontThe most color of any face, and the one that spends its day behind whoever is sitting in it. The lines frame the mark rather than compete with it.
Close-up of the embossed UP mark on the chair’s front panel
Up close
The UP x Secretlab chair, side view
Side

Cosm

Cosm  /  Brand, collateral and visualization Case study
Cosm Contract  /  2022 rebrand

Work on this page was produced while contracting with Cosm.

My contract with Cosm spanned for the duration of their 2022 rebrand due to their increased need for design during this period. Works below include brand identity, event collateral, technical documentation, and venue visualization.

Cosm is an immersive entertainment, media, and technology company building “shared reality” venues, which are large-format LED domes where audiences watch live sports, concerts, and other content together. The company grew from planetarium leaders Evans & Sutherland and Spitz, Inc., whose hardware and software helped them develop modern dome experiences, and they have since acquired C360 and LiveLike VR.

To introduce the company a bit more, I've found two videos that do a great job at introducing Cosm. Although I didn't work on the first video, it was created by my team during my time there, and discusses the history of the company, and the second was posted by Dan Povenmire and shows where the company is now going.

@experiencecosm

Cosm History: From 1947 ➡️ 2022 and beyond! Cosm was born from the fusion of some of the greatest innovators in the history of technology. Cosm company @E&S and Spitz, Inc. pioneered the first widely used planetarium thanks to Armand Spitz! 🌎 Can you guess what our next big accomplishment was? #Planetarium #Science #ESHistory #Cosm #ImmersiveTechnology #HistoryMatters #STEM #stemhistory

♬ original sound - Cosm

Spitz 75 Year Anniversary

Objective

Spitz Inc. is the oldest company that Cosm has acquired, with some employees who have spent decades there. This project aimed to celebrate Spitz employees’ contributions and make the acquisition feel good, while also aiding in the transfer of brand equity to the larger Cosm brand during their rebranding. We needed a unifying anniversary mark to rally employees and partners, and transfer Spitz’s brand equity to the parent brand across internal and external deliverables.

A large "75" with a gridded dome beneath it. In whole, it says "75 Years of Immersive Experience"

Iterations & Research

I explored dozens of iterations before landing on a Lubalin-esque “75,” with “Years of Immersive Experience” set in Cosm’s brand font below. Yet it still lacked a clear nod to Spitz. Spitz is the branch of Cosm tied to dome architecture and has built major planetariums worldwide. Researching their dome-architecture legacy, I studied construction photos and beam patterns, then entirely redrew the “5” to nest a dome inside it.

Outcome & Response

The dome detail mirrors a real beam configuration used in Spitz dome architecture, something the team recognized immediately. As with all acquisitions, some of the Spitz employees were worried about the acquisition, but this detail signaled their work was seen and respected by their new parent company. It was used across email newsletters, external promotional materials to Spitz's long-time business partners, and merch which was given to all employees.


Venue Use Cases Renderings

Concerts - Featuring Charming Liars

These were created prior to any Cosm venues being built. Other than the company's own small testing facility in their headquarters, there was no imagery to show the use cases of a full-sized venue. We needed a clearer way to communicate the venue’s versatility to partners and the press. I was given some use cases and a set of neutral interior renders with blank screens. From there, I created and composited all screen content, then adjusted lighting and color grade to match each scenario. In the end, these were used across pitch decks, press outreach, and partner-facing materials, helping convey vision and the variety of experiences to people.


Trade Show & Event Collateral

Trade Show Postcards

All cards were designed first and foremost for clarity: attendees could quickly understand its purpose and what to do if they were interested. They include very clear, simple language, and a direct CTA to scan the QR code. The Digistar 7 card leads to a landing page tailored to the event (which is updated yearly), the GSCA Card links to Cosm's homepage, as it was intended for people who missed the trade show as a first-time introduction to the company, while the recruitment card links to Cosm’s careers page.

Postcard Front
Postcard Back
Postcard Front
Postcard Back
Postcard Front
Postcard Back

Conference Backwall

This booth backwall was designed as a flexible backdrop that could anchor multiple trade shows. The visual system split into modular messaging zones, allowing for varied configurations by event. I designed the wall layout, prepped assets for production, and built a 3D render for internal preview needs.

3D Render:
Postcards on a Table and the Backwall


Pull-Up Banners

The pull-up banners were designed to serve as additional brand anchors at trade shows, focusing on products rather than the company. The first set of banners was presenting their Cosm X Solutions suite of services. The other banner focused on Cosm’s NanoSeam dome surface, using a close-up product image to show its detail and precision.


Artemis I Livestream Troubleshooting Guide

I created a skimmable troubleshooting guide designed for over 125 planetariums which were livestreaming the Artemis I launch. This was distributed by Cosm as part of the global simulcast and helped venue teams respond to any technical difficulties they faced while streaming.

Brick Wall

Overview

This modular display typeface treats each letter as a structural unit, stackable, repeatable, and built to fit together like bricks in a grid. The project began with an exploration of the phrase “wall of text,” imagining how text could take on the physicality of a built wall.

Later, Pink Floyd’s Another Brick in the Wall became a reference point for the name, tying the idea of modular letters back to imagery of walls, especially those in the process of being built up and torn down. As a result, most visual representations of the font throughout this page will be using inspiration from that album. There is also a text box for you to test the font towards the end of this page.

Objective

The goal was to create a typeface where enough characters together would look like a wall of brick. Each character operates as a couple bricks, forming dense, unified text blocks with rigid internal logic. The result is a display system that can function both as typography and as a graphic texture.

Brick Wall type specimen poster available for free download here:
Download at 18″ x 26.5″ | Download at 11.5″ x 14.75″

Design Approach

The project began with me looking through monogram sketches from an old high school project. I found an experimental sketch combining my initials, A and K, which interlocked diagonally and formed two perfect squares that were tilted to form an infinity-like silhouette. I realized that the heavy columns and thin crossbars could be applied to other letters to make them fit a similar mold. This concept expanded into a full type system exploring how letters could fit within a fixed modular grid. Early shapes were explored in Illustrator before building the entire glyphset in RoboFont. Final mockups and visual presentations were created in Illustrator using the exported font files.

System & Variants

The underlying grid system defines each letter’s structure and spacing. It uses a structure of two thick columns, separated by a thin one to create each letter. The thick columns are connected by thin strokes at the top, middle, and/or bottom, with rounded or pointed corners as needed for legibility, balance, and style. This modular logic allows letterforms to adjust while remaining locked to the overall system.

However, you may wonder about letters that wouldn’t fit into this two-column structure cleanly. Letters like W, M, I, and T might do better with one or three columns. And yes, W, M, and I were treated probably as you would expect, but T was approached in a different way compared to the other letters.

The T was creating weird negative space below it when crafted to fit three columns. And when crafted to fit just one, it felt so much like an I that that version was scrapped. I landed on creating three variations:

  • A primary form with the top bar extending left.
  • An alternate with the bar extending right for specific word placements.
  • A full three-column variant with the bar extending both directions, just in case it had letters on each side that could fill the negative space.

This ensures that even irregular letters integrate seamlessly within the typographic wall. Additional alternates are included to keep negative space consistent across varying letter combinations and placements.

Technical Details

Brick Wall is an all-caps display typeface built in RoboFont, with coded alternates to automate contextual alternates and system refinements.

feature calt {

# — Rule 2: t or T between L/l and J-family → T.alt3 —
sub L t’ J by T.alt3;
sub L t’ j by T.alt3;
sub L t’ J.alt2 by T.alt3;

sub l t’ J by T.alt3;
sub l t’ j by T.alt3;
sub l t’ J.alt2 by T.alt3;

sub L T’ J by T.alt3;
sub L T’ j by T.alt3;
sub L T’ J.alt2 by T.alt3;

sub l T’ J by T.alt3;
sub l T’ j by T.alt3;
sub l T’ J.alt2 by T.alt3;

# — Rule 1: t or T followed by J-family → T.alt2 —
sub t’ J by T.alt2;
sub t’ j by T.alt2;
sub t’ J.alt2 by T.alt2;

sub T’ J by T.alt2;
sub T’ j by T.alt2;
sub T’ J.alt2 by T.alt2;

# — Rule 3: J-family preceded by T-family → J.alt2 —
# Covers plain t/T
sub t J’ by J.alt2;
sub t j’ by J.alt2;
sub t J.alt2′ by J.alt2;

sub T J’ by J.alt2;
sub T j’ by J.alt2;
sub T J.alt2′ by J.alt2;

# Covers substituted Ts (chaining)
sub T.alt2 J’ by J.alt2;
sub T.alt2 j’ by J.alt2;
sub T.alt2 J.alt2′ by J.alt2;

sub T.alt3 J’ by J.alt2;
sub T.alt3 j’ by J.alt2;
sub T.alt3 J.alt2′ by J.alt2;

@LettersUpperNoL = [A B C D E F G H I J K M N O P Q R S T U V W X Y Z];
@LettersLowerNoL = [a b c d e f g h i j k m n o p q r s t u v w x y z];
@LettersNoL = [@LettersUpperNoL @LettersLowerNoL];

# t/T → T.alt3 when before . or , AND preceded by L/l or . or ,
lookup T_before_punct_alt3 {
sub [L l period comma] t’ [period comma] by T.alt3;
sub [L l period comma] T’ [period comma] by T.alt3;
} T_before_punct_alt3;

# t/T → T.alt2 when before . or , (general case)
lookup T_before_punct_alt2 {
sub t’ [period comma] by T.alt2;
sub T’ [period comma] by T.alt2;
} T_before_punct_alt2;

# t/T → T.alt2 when followed by space AND preceded by a non-L letter
lookup T_before_space_after_nonL {
sub @LettersNoL t’ space by T.alt2;
sub @LettersNoL T’ space by T.alt2;
} T_before_space_after_nonL;

} calt;
feature ss01 {
sub T by T.alt2;
sub t by T.alt2;
} ss01;

feature ss02 {
sub T by T.alt3;
sub t by T.alt3;
} ss02;

feature ss03 {
sub J by J.alt2;
sub j by J.alt2;
} ss03;

One of the better examples of how this can function is the letter series LTLTJTJ. All of these contain gaps which may not be desired when displayed often in a wall of text.

So the solution was to automate the changing of these glyphs to fit together more snugly. One issue however, was the letter J was looking odd when next to the letter T. The subtle connection between the tops of the letters made them appear like one strange character.

Instead of that, I cut off that part of the J, but only in the situations it’s next to a T. This led to the LTLTJTJ sequence from above condensing to the following:

This is just one pretty comprehensive example of the way this font was programmed to adjust. More interactions are planned with punctuation and alternates for the font’s final release in a couple of months.

Conclusion

While originally built as an experimental display typeface, it now stands as a functional system ready for practical use in posters, album covers, or any context where text is treated as both communication and graphic element. Final refinements will focus on additional punctuation and glyphs, as well as any necessary programming for the new additions before it is released publicly.

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Ashton Krow

Ashton Krow

Graphic Designer and Creative Technologist
Graphic design and creative technology across brand systems, websites, and marketing. Turning complex content and requirements into clear, repeatable structures that hold up in use.
Universal Processing
Rebrand for a payments company, cleaning up 10 years of inconsistent branding, developing new guidelines, and leading the rollout through its website, packaging, print, and events.
Brand IdentityCreative DirectionWebMarketing Collateral
ILVE
Digital and print work for a luxury Italian appliance brand, including a 5,594-configuration range builder, product launches, support tools, media systems, and advertising.
WebProduct ToolsMarketing Collateral
Cosm
Design work during Cosm’s 2022 rebrand, including marketing collateral, brand equity transfer, venue visualizations, and partner-facing materials.
BrandMarketing CollateralVisualization
115.local
A private local network for a shared apartment, with a calendar, bills, documents, household information, and Frankie the Cat, a locally running AI assistant.
WebSystemsHostingProduct DevelopmentAI
Brick Wall
A modular display typeface built so letters fit together like bricks, with contextual alternates that resolve gaps automatically.
Typeface DesignTypographySystems
More work

More projects & experiments.

A less polished archive of work and experiments that aren’t presented as case studies.