is a multidisciplinary design practice based between Eindhoven and Singapore, run independently by Macarius Eng. Through deep intentionality and a penchant for conceptual brevity, we produce work that is shaped by innovation and tasteful restraint, and firmly rooted in humour and rationality.

In Graphics, we strive to develop systems that motivate every detail, pushing conceptual boundaries within a framework of restraint and mindfulness. Every letter, every ink-spot, every pixel, every margin, is always an expression of a bigger whole. We like work bottom-up, not outside-in.

^{1 A} We are an independent publisher, producing printed matter in close collaboration with other individuals and entities who share our deep respect toward's design power to change and affect, in addition to working feverishly and intimately on our own titles

^{1 B} We are industrial designers and makers of various objects, ranging from intimate to grandiose, from functional to not-so-useful. A key part of our design philosophy lies within a deep curiosity towards form, material, production, and the ways we interact with things.

^{1 B} We are collaborators, working with brands and businesses to realise their visions. We believe in a value-centric approach; one that prioritises quality and principle over profit or marketability. We'd still make it pretty, though. 

^{1 D} While interested in various fields and disciplines, we do have a soft spot for working in the fields of Design, Art, Architecture, Psychology, Philosophy, and Education.

^{2 A} In a world saturated with good design, I believe creating more of the same is wasteful. I see no merit in slightly better versions of what already works. My purpose is to carve space for genuine innovation — to find what is yet unseen, what can still surprise and serve. Design must push beyond familiarity, or it fails both culture and the craft itself.

^{2 B} Yet innovation alone is not enough. A design must live in the hands of others, shaping how they feel, think, and move. My work insists on use: the idea must transform daily life, not just sit pretty in a portfolio. To me, the difference between design and art is this duty to usefulness — a promise to bridge poetic vision and practical reality.

^{2 C} This conviction shapes my method. Every project begins not with a moodboard but with immersion: observing, experimenting, questioning the material, the context, the physics of the idea. I anchor each project in a defined problem — sometimes functional, sometimes cultural — because good design solves something that truly resists an easy fix.

^{2 D} Once the field is open, I play. I test forms, push materials, and provoke accidents. I aim to discover insights that no Pinterest page could supply. I want my hands, eyes, and failures to teach me first — before the algorithm does. This raw exploration seeds ideas that feel alive, not borrowed.

^{2 E} Only then do I turn to references. Here, moodboards become tools, not crutches. They sharpen the vision, contextualize it among existing solutions, and expose what’s cliché. By comparing, I can refine. I trim the ordinary away until the concept stands as something fresh, clear, and defensible.

^{2 F} The final phase is execution: transforming the refined idea into something manufacturable, communicable, and market-ready. I test, adjust, and proof it against reality. I check that it remains true to its poetic core, but also meets the client’s constraints, the user’s needs, and the world’s logic. Romance must stand up to reason.

^{2 G} This three-phase process — exploration, refinement, delivery — is my studio’s backbone. Each phase demands a different mindset: the freedom to wander, the discipline to cut, the rigor to realise. Together they ensure that every project is both meaningful and possible, both romantic and real.