

An identity for a small museum
Hudson, NY — 2025Wordmark, wayfinding, and a print system for a museum with two rooms and a very good gift shop.
IdentityPrintWayfindingI write, design, and research at the intersection of typography, slow technology, and what working life could feel like. Three or four briefs a year, chosen slowly.



Wordmark, wayfinding, and a print system for a museum with two rooms and a very good gift shop.
IdentityPrintWayfindingFourteen years in studios taught me what a brief needs; independence taught me how few to take. The rest of the time goes to writing and research — which is also, quietly, where the client work gets better.
The studios, the leaving, and what independence actually looked like year by year.
Junior designer at a four-person editorial studio. Set type badly for eighteen months and learned to read a printer's proof properly.
Moved to a house imprint. Forty-odd covers, six interiors, and the first specimen I would still show anyone.
Identity and wayfinding across three small institutions. Learned that signage is written before it is drawn.
Left with two clients and a rule: three or four briefs a year, fixed price, no discovery calls. Both clients are still here.
Ninety-six pages about rests and margins. Second printing; the first sold out at readings.
A longer one, about creative practice. Client work funds it; the letter is where drafts appear first.
“She turned our two-room museum into a place that feels inevitable. Visitors photograph the signage.”
Books, journals, specimens, annual reports that people actually read. From grid to printer handoff, 6–12 weeks.
Wordmarks and systems for small institutions and stubborn independents. Print-first, digital-fluent.
Essays, commissioned research, and the occasional naming problem. Rates by the piece, not the hour.
A paragraph is enough — what it is, when it's needed, roughly what's set aside for it. I read everything and reply within a week.
If it's not for me I'll say so and suggest someone better suited. If it is, you get a fixed price and a start date in writing.
Fortnightly shares of real work in progress — no mood boards, no big reveal. You'll always know where the project stands.
Files, sources, and a short written guide to living with the work. Then I disappear, pleasantly, until you need me again.





A paragraph about it is plenty. I reply to every brief within a week — with a yes, a no, or the right person's name.
Briefs, collaborations, writing commissions. I reply to every email; please give me a few days.