Client notes from recent identity and print projects
Art director at a small publishing house. We rebuilt their quarterly journal's grid and type system. The new layout cut production time by a third and gave the editors a clearer structure for image-heavy spreads.
Runs an independent ceramics studio. We designed a visual identity rooted in her glaze tests and firing notes. The system now carries through packaging, exhibition posters and her catalogue without losing the handmade feel.
Leads a small architecture practice. We documented their portfolio as a printed book with annotated drawings and material samples. The book became their main pitch tool and helped them win two public commissions.
Founder of a regional film festival. We designed the festival's identity and wayfinding system across three venues. The typographic system scaled from a 12-metre banner to a pocket programme without losing legibility.
Editor of a design newsletter. We created a monthly print supplement that pairs her long-form interviews with original photography. Subscribers cite the supplement as the reason they renew their annual subscription.
Why the editorial line holds
Every feature is built around documented stages: sketchbook pages, reference boards, failed iterations and production notes. You see how a decision was reached, not just what it looked like once approved.
Interviews are conducted inside working spaces, with the people who actually run the projects. The conversations cover budgets, client pushback, print limitations and the compromises that never make it into a portfolio.
We do not publish follower counts, award tallies or vague claims about influence. Credibility here comes from showing the work itself: annotated layouts, type specimens, material swatches and honest reflections on what did not work.
Content is not shaped by advertisers or platform algorithms. Each issue is planned around a theme, reviewed by working designers, and edited for accuracy before it reaches the page.
Back issues remain accessible as a reference library. Readers use past features to trace how a studio's visual language evolved, which makes the magazine a research tool rather than a disposable feed.
We do not publish vanity metrics or inflated numbers. Instead, we collect short notes from people who have reviewed our issues, contributed to a feature, or commissioned a studio portrait. These are their words, lightly edited for length.