My background is in logo design. Brand identity work means thinking constantly about how a mark reproduces: on screen, on paper, foiled onto a cover, screen printed onto fabric, embossed into leather. At some point that thinking became less theoretical. I wanted to understand how those processes actually work, not just design for them. Screen printing first, then vinyl. Each method works differently, reacts differently, fails differently. Understanding that became the work.
Sublimation came next, not for apparel but for hard surfaces. Plastic. Metal. Coated materials. Dye bonding into a substrate under heat rather than sitting on top of it. That question of what a surface can accept moved the practice into paper, cloth, leather, and board. Bookbinding followed. Then foiling, lamination, edge finishing. Each answer opened another question.
The studio handles structural bookbinding across all major forms: case, wire, coil, perfect, pamphlet, and commissioned structures including Coptic, longstitch, and sewn bindings. Finishing work covers foiling, lamination, embossing, debossing, edge painting, edge gilding, and die-cutting. Print and apparel production runs sublimation, vinyl, and DTF. One person does all of it in Richmond, Virginia.
Current work includes print production for a Richmond elementary school, stationery for a New York artist sold through Manhattan galleries, goods for a local handmade brand, awards and merchandise for a Fortune 500 company in Richmond, and private commissions taken by referral. The Signature Goods line of hand-finished notebooks, journals, and stationery I make and sell directly.
The right commission for this studio is the one that does not fit anywhere else. Too small for a production house. Too specific for a quick-turn printer. Something that needs one person to be responsible for the whole thing, start to finish. Come with a finished spec or come with a sketch.
That is what I built this for.