Commercial and non-commercial projects I loved making: an emoji pack, the illustrated users from my own case studies, podcast covers, a concept app, an album, and — most recently — two things made with AI rather than about it. Some were paid. Most were not. All of them were the thing I did instead of stopping.
Kowloon Walled City grew for forty years with no plan: every stolen power cable strung over the dead one beneath it, every floor bolted to whatever was already there. It functioned. It could not be understood, maintained, or safely extended.
In The Digital Kowloon I argue we are building its software equivalent — that vibe coding is not the frontier but a regression to the arrangement the industry spent thirty years dismantling, where the person who knows how to build is by default the only authority on what gets built. The speed is what makes the regression invisible.
The old machine-first lens, what it costs, who was added to fix it, and what happens when they are removed again. All seven made with Magnific AI.
This human is an attempt to use AI to describe humanity. Each episode takes the human side of one historic figure — someone born on that date — and the whole of it is researched, written, edited and narrated by a machine. What I made is the factory that runs the entire process.
Eleven Claude-API skills run as one orchestrated chain, and I invented the host they all write for: a fictional presenter named Norman Kendrick, with a living biography and a tracker that stops him reusing his own anecdotes.
The show's own cover sets the spec — black substrate, gold ENIG traces, the components encoding that subject's story — and every episode's artwork is generated against it. Six of the twelve follow; each one is a door into the episode.
In the summer of 2020 I noticed a common need for an outlet for negative feelings. It reminded me of Russian Mat, where any word can be turned into a curse — so I built the same affordance out of one emoji.
96 characters, all illustrated by me, so you can say "I love you! But as well… poop!"
Pack, then detail, then the construction — and then the only proof that matters, people using it.
I used this portfolio as an excuse to do something I had wanted to do for a long time — illustrate the typical users of the systems I designed.
Drawing a persona well takes a kind of intimacy you only get after living with a user group for a long time: which insignia they wear, how they hold their shoulders, what age they actually are.
The published trios, then the full set, then the construction — so it reads as something built rather than sketched.
An interest in podcasting led me to Ran Levi, creator of Making History and chief editor of the Making History network. After we met I illustrated episode covers for about a year — one image per episode, each one carrying a story I had only heard, in a house style that had to survive Freud, the ISS and a chess engine in the same grid.
The range first, then how one of them was actually made, then a cover for a sibling show on the same network.
Launch is a concept for a social podcast-creation app. A user can write, record, narrate or edit any podcast in the system, not only their own — write a script and then listen to several versions of it performed by different people.
The interface treats an episode as a body with parts to be filled, and the completion percentages as its vital signs.
The whole flow: the brand, the creation screen, one show, the sounds it still needs, recording one, and editing the result.
I was hired to brand and art-direct the album production for the independent singer NoaBe — Extravagantic Things (2013). I brought in Tel Aviv illustrator Tahel Maor; the three of us developed the concept together, and once each painting existed on paper I scanned and edited it into the album's overall style.
The singer wanted the record to exist physically as well as digitally, so the typography was drawn by hand — traced letter by letter on a lightbox — and every physical copy shipped with a double-sided poster.
The finished object first, then the poster, then the process nobody has seen, then the album out in the world.
Some of it was briefed and some of it wasn't; none of it was the day job, and that is the point. The two newest pieces were made with AI; the five behind them were made by hand, and they are what earns the right to have an opinion about either.