Brand identity
Naming through to a finished system — marks, type, colour and the rules that keep them consistent once I hand over.
I trained as an industrial designer and moved into brand work when I realised the products I liked best were the ones whose packaging, interface and support pages all sounded like the same company. Twelve years later that is still the job: making the parts agree with each other. I work directly with founders, usually as the only designer, and I hand over systems rather than files — colour, type and spacing rules written so the next person does not have to guess what I meant.
Naming through to a finished system — marks, type, colour and the rules that keep them consistent once I hand over.
Interface work for teams without a designer in the room. Flows, screens, and a component library your engineers can build from.
Structural and surface design for physical products, taken through to print-ready artwork and a real conversation with your printer.
Documented rules so the next ten screens look like the first ten, whoever draws them and whenever they get drawn.
Photography and campaign direction, briefing and running shoots so the imagery matches everything else you have.
Two days with your team to get positioning and visual direction agreed before anyone opens a design tool.
Details, tests and offcuts from work in progress.
Kestrel had a good frame and a catalogue that looked like a spreadsheet. We rebuilt the identity around the geometry of the frames themselves, then carried it into packaging that survives a courier and a shop floor. The wordmark is drawn to stay legible at head-tube size, which turned out to be the constraint that decided everything else about the system.
Case StudyDetails, tests and offcuts from work in progress.
Using techniques and technology including Figma, Illustrator, Blender, After Effects, Cinema 4D, Framer.
Professional bodies, colleges and institutions.
“Maya spent the first week in the workshop rather than at a desk, and it showed in everything that followed. She understood that the mark had to work stamped into wet clay before it worked anywhere else, which is not a constraint I had thought to explain. We came away with a system I have applied myself a dozen times since without needing to ask her what was allowed.”
“We had eighteen months of feature requests and an app that showed all of them at once. Maya's first deliverable was a list of things to remove, with the reasoning attached, and it was uncomfortable reading in the best way. Support tickets about the settings screen dropped to almost nothing after launch, which is the only metric I actually cared about.”
“What I valued most was being told no. We asked for a heritage look and Maya explained, with examples, why that would put us in the same bracket as companies charging half our price. She was right, and the version we shipped has aged far better than the one I originally asked for would have done.”
Tell me what you are making and where it is stuck. I reply to everything within two working days.