Plenty of thinking behind great design.

What that looks like in the real world

For more than 15 years, I've worked across design studios, the corporate sector and local government, helping organisations communicate complex information through thoughtful publication and communication design. Along the way I've worked on everything from annual reports and consultation documents to magazines, books, catalogues and long-form publications that need to stand up to scrutiny.

As a result, I'm well acquainted with complexity, approvals, feedback loops, and documents that start life as "just a quick thing" and end up being… not that.

Reports. Books. Magazines. Catalogues. The kind of content-heavy publications where the details matter and the final output needs to hold its own, whether it's on a boardroom table, in a letterbox, or flicked through with a coffee in hand.

This is where good publication and communication design earns its keep. Structure. Hierarchy. Flow. The dark arts of layout and typography. Knowing when to add emphasis and when to leave well enough alone.

Digital can do its thing too. Print and digital aren’t enemies. They just behave differently, like siblings who’ve learned to coexist.

A bit of backstory (because it explains a lot)

About ten years ago, I co-founded Plenty magazine, a regional publication created to celebrate the people, places, and stories of the Bay of Plenty. It was an intentional dive into the magazine world and a very real education in what it takes to make a publication people actually want to read.

Working alongside writers, photographers, advertisers, printers, and readers taught me a few things. Pacing matters. White space is not wasted space. And if you don’t respect the content, it will absolutely show.

That experience still shapes how I approach publication and editorial projects today. Whether it's an annual report, consultation document, magazine or book, the goal is always the same: helping people navigate, understand and trust complex information. Less shouting. More substance.

How I work

I work independently, which keeps things focused and personal. When a project needs extra hands, I collaborate with writers, editors, photographers, and printers I trust to do good work without drama.

You get one clear point of contact. A steady hand. Someone who knows how to wrangle content, spot issues before they become problems, and get things over the line in one piece.

Swings and roundabouts. No heroics required.

The end goal (always)

To make your content feel clear, credible, easy to navigate, and genuinely useful to the people it's written for.
To deliver something you’re comfortable putting your name on.
To take a big, messy pile of information and turn it into something that behaves.