Selected work — 2026
I draw the mark, build the site, and cut the video. One pair of hands from start to finish, which is why none of it drifts.
Marks, systems, and the decisions behind them.
An L and a P sharing a stem, with a hairline gap between the stem and the bowl. Fused and both in gold they read as one letter. The gap is the whole thing.
The rejected routes are the argument for the one that shipped.
A compact mark in a fixed-height slot lands near 24px and vanishes. Width has to come from the wordmark — 202×28 against 24×28.
Houston printer, family-owned since 1974. Light and dark, press and screen.
The mark lived inside a white box, so it could only sit on white. Cut out and delivered transparent.
Event work for a Haitian music collective. Most pieces exist as a still and a motion cut.
Cut-paper type set letter by letter on a kraft ground, halftone strip taped in, annotations drawn by hand. The title is Kreyòl. The street is named because that is how the audience navigates.
Same collective, different register. Type carries it.
Produced as a still and cut to a vertical edit.
How a change gets proposed rather than just made.
A is what was live. B is the proposal, with the reasoning written underneath: the blue headline came with the template and was never changed to the company’s green, there was dead space beneath it, and the photo ran full size with a clothing rack in front of the two owners. B closes the gap, recolors, crops so the people sit higher, and adds three facts because the page was one paragraph. The note at the bottom asks them to check the awards figure before it goes live.
Four sites, designed and built.
Static build, deployed continuously.
Trilingual — English, French, Kreyòl.
A weekly card system. One idea per card, same grid every time.