I make complicated things legible.

A gelato studio that treats flavour as colour. The mark had to survive being printed at cup size, so the whole identity is built on a single silhouette: an elliptical scoop with a swirled crown, drawn at one line weight and resolved before any type was added.

The wordmark stacks above and below the scoop for symmetry, and the palette stays soft, pistachio and cream and apricot, so the product photography remains the loudest thing on the page. Montserrat Semibold and Thin carry the system across signage, packaging and merchandise.

The existing emblem tried to hold everything at once. An arch, a flag, figures, a landscape and the full name, all competing, and none of it survived being reduced. The rebrand keeps the meaning and drops the accumulation.

The arch stays, because it is the association's own building and the thing members recognise. Inside it sit two figures for participation across generations, a flame for continuity, a leaf for the rural setting. One line weight, symmetrical, legible at badge size. The blue and gold palette is documented in hex and CMYK so a print shop can use it without asking.

An engineering consultancy opening its first Portuguese office and announcing it to clients and partners. The invitation had to read as corporate without reading as generic, and had to work in print and on a phone screen.

A flat Lisbon skyline in three tints of the KEO blue does the work. It sits under the type on the front, then becomes a near white watermark on the back so the RSVP details stay the only thing you read. Setting the headline in outline keeps the weight of the page low and lets the logo hold the only solid block of colour.

The argument: cars in the Gulf have grown for forty years straight, parking assets last forty to sixty, and planners are still sizing bays to yesterday's fleet. Four plates carry it. What people actually drive, why electric vehicles need more room than the bay itself, the planning factors that follow, and what it costs to get them wrong.

Everything is built from one icon set at one stroke weight, on two blues. The vehicle outlines are drawn rather than photographed so the comparison stays about footprint, and the recommendation sits in its own block at the end of each plate, so a reader can take the number without reading the argument.

Engineering chapters arrive as models, spreadsheets and CAD files. These are the pieces that turn them into something a client can follow: how a visitor gets from the regional city to their front door, where goods consolidate before the last mile, which streets take which right of way, and what actually sits inside a cross section.

The constraint across all of them is the same. One legend, one icon set, one colour logic per drawing, so a reader who learns the key on the first page keeps it for the rest of the chapter. Project names and site references have been removed for publication.

Hundreds of pages of engineering narrative, tables and plans, set to a template the client's lead architect supplied. My work is what happens inside it: how a full bleed plan meets a two column argument, where a legend sits so it can be read against the drawing, how a table of utility demand stays scannable at print size.

Text and project references are replaced with placeholder content here.

Generative tools sit inside my production, not at the end of it. They are fast at producing raw material and bad at deciding what a page needs, so I use them for the first and keep the second. The test I hold them to is simple: if the finished piece looks like it came out of a model, the work is not done.