Plainsong
ReaderA typographic identity for a small independent publisher, built around one obsessively-drawn serif.
View the projectI work alone and slowly, mostly with founders shipping their first real product. We start with a problem, strip it down to the one screen that matters, and stop the moment nothing else needs to be there.
A typographic identity for a small independent publisher, built around one obsessively-drawn serif.
View the projectTactile packaging and a print system that feels handmade without ever leaving the press.
View the projectA calm, image-led art direction for an audio studio that wanted to sound the way it looks.
View the projectA slow, readable site and a custom type pairing for a neighbourhood wine bar.
View the projectA botanical illustration series and accompanying marks for a tea house's first shelf.
View the projectA quiet, one-person practice for interfaces that get out of the way. I design the few things a year I can think about properly — and remove everything else.
I've spent the last decade in and around studios learning that the work I love most is the work I get to touch every part of — the brief, the sketches, the kerning at midnight, the press check. So now I keep things small on purpose.
When I'm not on a project you'll find me drawing letters that go nowhere, collecting paper I don't need, and teaching the occasional type workshop in Lisbon.
“Edda kept deleting things until the product finally made sense. Half the screens are gone and twice as many people understand it.”
I take on a handful of projects each season. If you've got something you care about, I'd love to hear about it — a paragraph is plenty to start.