Side Hustles

Outside of product design, I'm part of a cultural collective where I help organise events and create visual, video, and sound content.

It's a different creative outlet, but one that continues to shape how I think about storytelling, collaboration, and craft. Working across disciplines — curating spaces, building visual identities for events, producing audio-visual content — keeps the creative muscle sharp in ways that purely digital work doesn't always allow.

The overlap with product design is more obvious than it seems: both are about shaping experience, building community, and making something that resonates with people.

I hold an MA in Graphic Design — a foundation that continues to inform how I approach visual hierarchy, composition, and the emotional weight of design decisions in my product work.

As concept work, I developed a new visual identity for a museum in Oporto, Portugal. The project explored how cultural institutions can communicate their programme through strong typographic systems and a confident, minimal visual language — letting the art take centre stage while the identity holds everything together.

This kind of work sits at the intersection of design strategy and visual craft: thinking about how a brand feels across contexts, from exhibition posters to digital touchpoints.

At General Assembly, I taught UX and visual design to hundreds of students — people making career transitions, building new skills, or exploring design for the first time.

Teaching forced me to articulate things I'd internalised over years of practice: why certain design decisions work, how to frame a research question, when to move from exploring to committing. It made me a sharper designer and a better communicator.

Mentoring and growing designers has stayed central to how I work — it's one of the things I'm proudest of across my career.