I think typography is the closest design gets to music. Size, weight, leading, tracking, kerning: a handful of variables that, arranged with intent, turn flat words into rhythm, tension, and voice. This is a body of work obsessed with that arrangement. Some pieces are self-directed experiments, some are academic studies from ArtCenter, some are client work stripped back to its bones. All of them are after the same thing.
 

The discipline is Swiss. The grid, the system, the rigor of knowing exactly why every element sits where it sits. But rigor on its own is just order, and order on its own is forgettable. So the grid gets pushed. A weight too heavy for its space, leading pulled tighter than comfortable, a composition that departs from the rule precisely because it knows the rule cold. That contrast is the point: structure you can feel the edges of, tension that makes the eye stay.
 

The aim is never decoration. It's type that is legible, memorable, and emotionally charged all at once, that carries the message and becomes the message. Range across many styles, one conviction underneath: every typographic decision is a choice, and the right choice is felt before it's read.