I fell in love with letterpress because it's pure play. Every typeface in my studio carries decades (sometimes centuries) of design history. There's something magical about setting type, inking the press, and pulling a print where no two impressions are ever exactly identical. That variation is the whole point, the evidence that something real happened.

I'm fascinated by how typeface design used to happen, the decisions those designers made, and the constraints that shaped their creativity. And now I get to play with their legacy, to experiment with pressure, ink, and paper. Every print is a conversation between history and experimentation, between intention and happy accident. This is where I come to make things, to learn through doing, to celebrate imperfection as a feature. The basement press is my studio for creative rebellion, one unique print at a time.