My approach combines structured identity thinking with editorial sensitivity and cross-platform campaign direction. I build visual systems that stay clear under pressure, scale across environments, and support teams in the way they actually work.
Understanding audience, positioning and organisational context before any visual decision.
Defining the creative direction and the core idea the whole system hangs on.
Building modular structures — type, colour, layout, components — that stay consistent across formats and teams.
Extending the identity into behaviour, so it lives in motion across broadcast, digital and campaigns.
Supporting implementation across teams and keeping the system coherent as it scales.
I work closely with strategy, editorial, marketing and product teams to align visual direction with communication goals. My role often includes supporting designers, shaping early concepts, and helping teams hold consistency as projects scale.
Much of my work is making identity systems that hold up in production — typography frameworks, motion behaviour and component logic that let editorial and campaign teams move fast without the brand drifting.
A background in editorial design gave me a strong sensitivity to typography, rhythm and composition. It still shapes how I structure identity systems and communication across formats.
Alongside commercial work, I explore typography and visual systems through independent projects — from developing a custom typeface to conceptual work like the interactive flag installation for the Venice Biennale.
To mark the reopening of the pavilion, an interactive flag explored the idea of collective belonging — both a spatial accent and a symbol of institutional change.
A sans-serif typeface with dynamic contrast and sharp, slightly fractured forms — inspired by cliffs, stone breaks and the rhythm of crashing waves.