Designer Things

I used to think calligraphy was just fancy handwriting for wedding invitations. Then I spent an afternoon in a cramped studio in Kyoto watching an elderly

I used to think money was just, you know, money. But then I spent an afternoon in a dusty archive in Basel, holding a 1920s Swiss franc note that featured

I used to think successful crowdfunding was mostly about having a good idea and writing a compelling pitch. Turns out, the visual strategy matters way

I used to think white space was just, you know, emptiness. But here’s the thing—when you actually start paying attention to how design works, you

Visual ambiguity isn’t a mistake—it’s a tool. I used to think design was about clarity, about making sure everyone saw exactly what you intended them to see.

I used to think energy drink cans all looked the same—neon chaos screaming at you from the cooler. Turns out, there’s a whole visual grammar buried

I used to think the curves in letterforms were just aesthetic choices—pretty arcs that made fonts look elegant or modern or whatever designers were going

I used to think all serifs were basically the same—little feet at the ends of letters, right? Turns out, beak terminals are this whole category of serif

The thing about minimalism is that it always felt like a dare—like someone bet the art world it couldn’t survive on white walls and industrial materials alone.

Transition Design doesn’t work the way most people expect it to. I spent the better part of three years interviewing designers, systems theorists