I spend most of my time building systems — design systems, products, platforms.
This work is where I remove the guardrails.
Good systems come from good taste.
Taste comes from making.
Hand Lettering
Hand-drawn lettering created directly in digital tools.
These pieces are built in Procreate or Photoshop, using colour, texture, and layering as part of the form.
- Full-colour lettering with intentional palettes
- Texture and depth used to support legibility
- Balance between expressive strokes and controlled structure
Still drawn by hand.
Just using a different set of tools.
Badge Study
A classic 1970's Toyota Corolla badge, rebuilt and re-explored.
I redrew the Corolla badge from scratch in Illustrator, refined material and depth in Photoshop, then used generative AI to create product-style renders and animation.
- Precise vector redraw
- Material and lighting studies
- AI-assisted product shots and motion
Manual craft first.
AI used to push presentation and explore range.
Single Colour
This work sits between hand lettering and logo design.
Some pieces start as loose lettering studies. Others are pushed further until they resolve into marks. All of them are built under the same constraint: a single colour.
- Hand-drawn lettering focused on form, rhythm, and weight
- Single-colour constraints to emphasise shape over effects
- Exploration from expressive sketches to tighter marks
- Letterforms designed to read as silhouettes, not decoration
Whether a piece stays loose or becomes a logo is secondary.
The value is in learning how far a form can be pushed — and still hold.
Illustration
Just making things.
Colour, shapes, texture, and whatever feels right in the moment.
- Playful, decorative illustrations
- Loose structure, strong colour
- More instinct, less intent
No brief.
No outcome.
Just exploration.
Light Painting
These images aren’t captured in a single frame.
They’re built over time — layering light, movement, and exposure to create an aesthetic that doesn’t exist in one photograph.
- Multiple exposures combined into a single image
- Light used as a drawing tool, not just illumination
- Focus on shape, surface, and motion
It’s less about documenting a car.
More about constructing a presence.
These images are built manually, starting with on-site shoots and finished through hours of careful masking and layering in Photoshop, typically combining around twelve exposures.
Because of the time and precision involved, each shoot produces only a small number of final compositions. The process rewards planning and restraint — every angle, movement, and light pass has to count.
Generative AI as Photography
I use generative AI as an alternative way to think about photography.
Instead of capturing a moment, the focus shifts to constructing one — controlling light, angle, surface, and mood without the constraints of physical space or equipment.
Unlike manual shoots, there are no time limits or setup constraints. This allows dozens of compositions to be explored in a single session, iterating freely on ideas before committing to any one direction.
- Exploring lighting and composition without a camera
- Testing ideas that would be impractical or impossible to shoot
- Using prompts as direction, not shortcuts
It’s not a replacement for photography.
It’s another way to explore image-making.
