AVAILABLE FOR SELECT PROJECTS • LAGOS •
Brand, product, software, AI and the systems behind them. I move between disciplines because real problems rarely stay in one. Based in Lagos. Working wherever the work is.
I do not separate design from building because the work does not. Identity can become interface. Interface can become software. Software can become an operation. Sometimes the project starts with a poster and ends with a database.
I do not have a 23-step methodology deck. Most projects need the same thing: see the real problem, give it structure, make the thing, put it in front of someone, and stay long enough to see what breaks.
The problem, seen clearly.
The interface, the identity, the system.
What the user never sees, but always feels.
Built with the tools the product itself uses.
Deployed, running, answerable to one person.
These designs were exactly what I needed. It’s rare to be able to describe what I want and have someone actually deliver that.SKAAME — ARTIST
Michael is a solution thinker — he came into the company and within two months had already thought of effective solutions to optimise our workflow and positioned us to become more AI-inclined.ABIDEMI AMODU — MANAGING DIRECTOR
As someone who uses AI, it’s refreshing to see and hear someone with more insight expand on troubling topics.ADEBAYO ADEBANJO — FINANCE DEPT
Have an idea, a problem, or something that should exist but does not yet? Bring the rough version.
HABIB@HABIBCORE.COMThe homepage shows you what I am doing now. This is the longer trail: brands, products, software, systems, graphics, music and the experiments in between. Some were commissioned. Some were self-initiated. Some started as design work and became software. Some started as songs. They all stay here because they explain how the practice got built.
Biscuit AI2026AI · PRODUCTVIEW CASE →
4DK2026CONSUMER · AIVIEW CASE →
Leadway Pensure2024–26BRAND · SYSTEMSVIEW CASE →
Olumayowa Nursing Home2026CLIENT · WEBVIEW CASE →
AI in the Workplace2026OPS · TRAININGVIEW CASE →
Relay2026PRODUCT · SYSTEMSVIEW CASE →Before systems and software there was music and image — EPKs, cover art and creative direction for artists. The foundation everything else stands on.
Skaame2024CREATIVE · EPKARCHIVEVIEW CASE →
Layo Isaac2024CREATIVE · EPKARCHIVEVIEW CASE →
BlvckOreo2023CREATIVE · BRANDARCHIVEVIEW CASE →
1ETHFP2024CREATIVE · WEB3ARCHIVEVIEW CASE →
Bedroom Recordings II2025CREATIVE · GRAPHIC DESIGNARCHIVEVIEW CASE →
Singles & Cover Art2023–25CREATIVE · GRAPHIC DESIGNARCHIVEVIEW CASE →
Visitor from Mars2021CREATIVE · MUSICARCHIVEVIEW CASE →
Gen.Sadiq — Maradonna2023–25CREATIVE · GRAPHIC DESIGNARCHIVEVIEW CASE →
The Basics of Graphic Design2026TRAINING · CURRICULUMARCHIVEVIEW CASE →SCROLL TO MOVE THE PROJECTS — THE MARK PICKS — CLICK A NAME TO OPEN ITS CASE
Most assistants either forget everything useful or remember everything with no way to inspect it. Biscuit treats memory as part of the interface, not a hidden backend trick.
The brief was simple: make an assistant I would actually want to use. That meant inspectable memory, the ability to erase it, web search, a local book library, image generation and visible costs — all inside one conversation.
Most chat assistants either remember nothing useful or remember everything with no way to check it. For real daily use, memory has to be inspectable — and erasable on demand, not buried in a settings tree.
API-based assistants hide their running costs. Biscuit surfaces them in the conversation, so usage is a decision, not a surprise.
Memory is structured in layers that can be opened, read and wiped from inside the chat itself. Web search (Tavily), a local book library and image generation plug into the same interface — no modes to switch, no dashboards to learn.
Production-ready and in daily use. The important part is not that it can chat. It is that the useful parts are inspectable.
The memory is structured in layers you can open, read and wipe from inside the chat itself — nothing useful forgotten, nothing hidden in a backend.
Because usage should be a decision, not a surprise. Costs are surfaced in the chat, so you always know what the conversation is spending.
Ask — access is granted per person while the product is in active development.
Recipe apps start with a dish and work backwards to shopping. Real kitchens are messier. Chef4Me starts with what is actually there.
The assistant tracks ingredients and expiry dates, then suggests meals from 40+ cuisines through plain Telegram commands. No forms. No dashboard. The interface is the conversation.
Ingredients expire untracked and meal decisions get made from memory. Recipe apps assume you shop for a plan; real kitchens cook from what exists.
Dedicated inventory tools lose to the dreaded data-entry step. If updating stock takes effort, it stops happening by week two.
Everything runs through plain chat commands: add what you bought, say what expired, ask what to cook. Gemini suggests across 40+ cuisines from the live inventory — the interface cost of telling the truth about your kitchen is zero.
The whole product is a chat, which means updating the inventory costs roughly one sentence.
Because real kitchens cook from what exists. Recipe apps assume you shop for a plan; Chef4Me suggests meals from the ingredients and expiry dates it already tracks.
Updating the inventory costs roughly one sentence — add what you bought, say what expired, ask what to cook. No forms, no dashboards.
Range without reordering your life. The suggestion engine (Gemini) works across more than forty cuisines from the same live inventory.
I had four years of operational context inside the organisation. I could see where the brand, product and communication system were leaving value on the table. So I built the argument before anyone asked me to.
The result was a live web-document pitch covering identity guidelines, product redesigns, social systems and brand voice. Leadway later commissioned the Customer Service Week 2024 film as a follow-on engagement.
Pension brands default to safe, distant and identical. The brief I set myself: make a fund people can scan, trust and act with — without breaking the seriousness the category demands.
Unprompted work lives or dies on credibility. Four years inside the operation meant every redesign proposal was grounded in how the system actually runs — not how it looks from outside.
The pitch reads product-first: redesigned flows, identity guidelines, a social system and a brand voice, assembled as a live web document rather than a static PDF — because the product itself is the argument.
The unusual part is the starting point: self-initiated work grounded in inside knowledge rather than an external audit from a distance.
The commissioned follow-up: I shot the videos and stills on site, pulled the b-roll, cut the round-up film together and scored it with background music. Produced and directed by one pair of hands — same as everything else on this site.
I had four years of operational context inside the organisation and could see where the brand, product and communication system were leaving value on the table. So I built the argument before anyone asked.
It made the work specific: identity guidelines, product redesigns, a social system and a brand voice grounded in how the organisation actually runs — not an external audit from a distance. The follow-on film commissioned after the pitch was shot, produced and directed end to end.
A local practice needed a site that could answer the important questions quickly: what do you do, are you credible, can I reach you?
Six services, licensing credentials and every contact route are arranged for a fast scan. The site had to work on the devices and networks a local patient would actually use, not an imaginary broadband connection.
Families arrive worried and in a hurry. Trust signals — licensing, credentials, real services — were scattered or offline; nothing answered 'can I bring my person here' in one glance.
The site had to load fast on the devices and networks patients actually use, and be maintainable by a small practice — no CMS to babysit.
Six services, licensing credentials and every contact route on a single page with a clear scan order: what you do, proof, how to reach you. Then it was built and shipped — same hands, no handoff.
Designed, built and shipped end to end. The result is deliberately simple: see the service, see the proof, know how to reach the practice.
What do you do, are you credible, can I reach you — six services, licensing credentials and every contact route, arranged for a fast scan.
A worried visitor should not have to learn a navigation system. One page answers the three real questions in one scroll.
One session is easy to deliver. It is harder to make the material useful a week later.
I built an 11-module, 90-minute company-wide programme for Birdview, then built the web hub that carried the curriculum, slides and flashcards on one link.
AI knowledge inside the company ranged from daily users to skeptics. Training scattered across tools and docs would leave the gap wider than it found it.
One-off sessions die the week after. The material had to outlive the room — revisitable, quotable, self-serve.
Eleven modules sequenced into a single 90-minute delivery, backed by a purpose-built web hub: curriculum, slides and flashcards on one URL — no logins, no lost files.
The training became a reference point instead of a one-off event.
“Michael is a solution thinker — he came into the company and within two months had already thought of effective solutions to optimise our workflow and positioned us to become more AI-inclined.”ABIDEMI AMODU — MANAGING DIRECTOR
One session evaporates. Eleven modules give the vocabulary time to become usable — company-wide, not just in the room.
One link carries the whole curriculum, slides and flashcards — the training exists after the trainer leaves.
The operation needed more than another dashboard. It needed the system itself to enforce the rules: permissions, auditability and deadlines.
Relay was rebuilt as an operations portal with role-scoped access, an append-only audit trail at the database level, working-days SLA clocks and a CRS calculator in the browser.
Compliance-sensitive operations can't run on editable logs and goodwill. Edits had to be impossible to hide — the enforcement point had to be the database, not the UI.
Immigration timelines are regulatory, not aspirational. SLA clocks had to count the same calendar the authority does — working days, not vibes.
Role-scoped data access, an append-only audit trail at the database level, working-days SLA clocks on every case, and an in-browser CRS calculator — the tools relationship managers need, none they don't.
The important design decision sits low in the stack: if compliance matters, the database should help enforce it.
Because policy that lives in documentation gets skipped. The system itself should enforce the rules — Relay’s audit trail is append-only at the database level.
In working days — deadlines reflect the calendar the operation actually runs on, with a CRS calculator in the browser.
A press kit has to carry more than facts. It needs to carry tone.
Built the artist web EPK for Skaame and cut the promo film to the music instead of a generic edit template.
“These designs were exactly what I needed. It’s rare to be able to describe what I want and have someone actually deliver that.”SKAAME — ARTIST
The EPK had to be scannable without becoming bland. Image, story and credentials had to land quickly.
Built a 12-page press-ready artist EPK designed around the decision a promoter actually needs to make.
BlvckOreo is part of the foundation of the practice: music, writing, image, identity and the discipline of putting work into the world.
Self-directed personal brand and EPK work, including the BO dice mark, music production and release work.
1ETHFP was creative collaboration in a space where community, roadmap and release rhythm were part of the product.
The work lived between culture, community and design rather than inside a traditional brand brief.
Bedroom Recordings II was made with YE!!OWSOUL. I co-produced the record, led the creative and designed the physical release.
The cassette cover carries the mood. The tracklist carries the sequence. The release is treated as an object, not just an upload.Bedroom Recordings II is an EP made with YE!!OWSOUL. I co-produced the record with him, led the creative and designed the physical release: the cassette mixtape cover carries the mood, the tracklist carries the running order. Released independently — and the EP’s tracks stream from this site’s sound system.
FIG. 09 — CREATIVE · GRAPHIC DESIGN
FIG. 09B — TRACKLISTReturn of the Dead, Vpn Visa, Show Me and EPP ME!!! were treated as four records, not one repeated template.
The cover series gives each track its own image language while keeping the artist world coherent.Return of the Dead, Vpn Visa, Show Me and EPP ME!!! for Blvck Oreo — each cover a self-contained world for the record it carries. The rest of the graphic design archive lives on Behance.
FIG. 10 — CREATIVE · GRAPHIC DESIGN
The wider graphic design set — including pieces published on Behance — is collected at behance.net/BlvckOreo ↗.
Visitor from Mars was the Alien Inc x Blvck Oreo tape, co-produced with The Beatoven.
I held the creative lead, directed the visual world and co-produced the record. The cover and release materials had to belong to the same universe as the music.Visitor from Mars is the Alien Inc × Blvck Oreo tape, co-produced with The Beatoven. I held the creative lead and directed the whole release — the cover artwork and the visual world the tape lives in, plus the production seat beside The Beatoven on the beats. Released independently, and the tape’s tracks stream from this site’s sound system.
FIG. 11 — CREATIVE · MUSICWhat’s Up!!! · Afro Woo with Droxx · Finer Things · Vibes & Inshallah. What’s Up!!! and Afro Woo stream in the deck now — tap the sound mark, bottom-left.
Gen.Sadiq came for the full visual package for Maradonna: cover, promo film and lyric video.
The cover was built from the song itself, then the motion pieces were cut to the beat. The package was signed off in the first round.Maradonna: single cover artwork, a beat-locked promo film and a lyric promo video. The brief came from the song itself — the cover holds its mood, and both videos cut to the beat. He and his manager signed off the first round; the package went straight to release.
FIG. 12 — ‘MARADONNA’ · COVER ARTWORK“He heard the song once and came back with a cover that looks exactly how it sounds. Me and my manager didn’t ask for a single change.”GEN.SADIQ — ARTIST
This was a fundamentals course built from scratch: curriculum, deck and facilitation material.
The training itself uses the principles it teaches — grid, type, hierarchy, composition — so the material is not just information about design. It is designed to demonstrate it.The Basics of Graphic Design is a ground-up fundamentals training: curriculum, deck and facilitation material produced end to end. Built like a product — sequenced, designed and shippable as one artefact — not assembled from a slide dump.
FIG. 13 — TRAINING · DECK COVEREight disciplines. One very specific habit: make the thing real. Brand, product, software, AI, automation, creative direction, graphic design and training — the labels are different, the operating principle is not. I do not believe design, code and systems need to live in separate boxes. Sometimes the best solution is a brand system. Sometimes it is a database constraint. Sometimes it is a better sentence. The job is figuring out which one actually fixes the problem.
NOTES / JOURNAL & INDUSTRY PAGES ARE SLOTTED FOR LATER — THE ARCHITECTURE ALREADY CARRIES THEM.
A brand needs to work after the launch deck is closed: on screens, in documents, in social posts, in products and in the hands of people who were not in the room when it was made.
BOOK A DISCOVERY CALL →I came into this through graphic design and art direction, then learned what happens when an identity meets a real organisation. That is why I care about the boring parts: rules, voice, usage, templates, hierarchy — the stuff that keeps the thing recognisable six months later.
Leadway Pensure is the clearest example: an unprompted brand extension pitch built from four years of operational context, then expanded into commissioned work.
Mark, type, colour and usage specified for real teams — not a brand book that dies in a drive.
Cover art, image systems and the composition rules that make a body of work read as one hand.
Voice definitions and copy frameworks that keep the brand coherent across product, social and correspondence.
Rules, templates and rhythm specified tightly enough that an internal team runs the system without me.
Rarely. A logo without the system around it can’t hold up in use — and use is the whole point. Small scope, yes; shallow scope, no.
Yes. Several engagements extend or repair an existing system — auditing what’s there, standardising what drifted, specifying what’s missing.
Yes — that is the point of specifying it tightly. The identity is delivered in the medium it lives in: live web documents, working templates, production files — not a PDF that dies in a drawer.
Bring the brand problem.
START A PROJECT →I design interfaces with the build in the room. That changes what gets designed: states, edge cases, data, empty screens, errors — the things that usually appear after the handoff.
BOOK A DISCOVERY CALL →The goal is not a beautiful prototype. It is a product whose decisions survive production.
Biscuit AI, 4DK, Relay and the Olumayowa site show the range: conversation-first products, operational software and high-clarity public sites.
Designed with the build in the room — states, edge cases, data and empty screens included.
Interfaces for software people actually operate, not demos that die after the walkthrough.
No forms, no dashboards when a sentence will do — conversation-first products, proved live.
Tokens, components and states documented tightly enough that even a future you can’t get it wrong.
Both. Research says what is broken; constraints say what is buildable. The interface is designed where they intersect.
Both, in sequence. The design exists to be built, and the build is how the design gets tested.
I stay near it. Real use writes the fix list — the first version is the start of the data, not the end of the work.
Bring the interface problem.
START A PROJECT →I write the software behind the interface: web apps, chat products, internal portals, data flows, deployment and the unglamorous code that keeps the thing alive.
BOOK A DISCOVERY CALL →I care about the part portfolios usually hide: what happens when the user does the wrong thing, the network fails, the data is ugly, or somebody needs to maintain the code six months later.
Relay is the cleanest example: an operations rebuild with role-scoped access, database-level audit enforcement, working-days SLA clocks and a CRS calculator. The practice also runs on the tools it sells: Biscuit AI and 4DK are in daily use.
Full-stack builds that go from schema to deployment — not prototypes that die at the demo.
Assistants that live where the user already is — API and model integrations wired to real providers and real cost visibility.
The unglamorous software an operation actually runs on — pipelines, trackers, audit trails.
DNS, hosting, logs and the 2am answer. The product is finished when it runs, not when the repo looks done.
Yes — DNS, hosting, logs and the 2am answer included. The product is finished when it runs, not when the repo looks done.
The smallest slice that touches the real workflow. If the first release doesn’t meet the operation it is for, the roadmap is guesswork.
Yes. Relay was inherited mid-build. The audit-then-improve pattern is the same whether the mess is mine or not.
Bring the thing that has to run.
START A PROJECT →Not every product needs an assistant. Not every assistant needs to remember everything. The useful question is what the model should actually do, what the user should be able to inspect, and what happens when the model is wrong.
BOOK A DISCOVERY CALL →The work here is practical: assistants, model routing, search, memory, evaluation, cost visibility and the training that makes AI useful after the demo ends.
Biscuit AI and 4DK are live product examples. The workplace programme extends the same thinking into teams.
Assistants with memory you can inspect and costs you can see — wired to real providers, in production, not in a pitch.
OpenRouter, Gemini, Tavily — whichever the task demands, routed and wired into the product.
Layered memory that can be opened, read and wiped from inside the product itself.
Cost visibility, evaluation, and the training that makes AI useful after the demo ends.
Where it removes a real bottleneck — not where it photographs well. The useful question is what the model should do, what the user can inspect, and what happens when it is wrong.
Costs are surfaced inside the product itself. Usage should be a decision, never a surprise on an invoice.
Yes — an eleven-module literacy programme has already run company-wide. Training is a capability, not an afterthought.
Bring the workflow.
START A PROJECT →Four years inside financial-services operations taught me the difference between a process diagram and the process people actually use.
BOOK A DISCOVERY CALL →The right automation starts with the real workflow, the weird exceptions, the handoffs, the audit trail and the Friday afternoon behaviour. Then software carries what is worth keeping.
10,000+ end-clients were moved to self-service channels; the live pipeline work spans 18 stages and 250+ clients.
Built from the real workflow — the weird exceptions, the handoffs, the Friday afternoon behaviour.
Live pipeline work spanning 18 stages and 250+ clients, run for four years inside operations.
The difference between a process diagram and the process people actually use, written down.
10,000+ end-clients moved to self-service channels — with the audit trail to prove it.
No — automating a broken process just breaks faster. The process gets repaired first, then the software carries it.
Whatever the operation already runs, extended where needed. The tool is chosen for the team, not the résumé.
Documentation, naming and audit trails a human can read — you own the system, with the paperwork to prove it. Dependency is a design failure, not a business model.
Bring the process.
START A PROJECT →Creative direction here is not moodboarding for the sake of moodboarding. It is deciding what the work should feel like, then making the visual, motion and release materials agree.
BOOK A DISCOVERY CALL →Music trained the instinct: cover, image, video, rollout and sound need to belong to the same world.
The archive includes two EP releases, cover-art systems, artist EPKs and the Leadway Customer Service Week film.
Deciding what the work should feel like, then making everything agree.
Visual systems for brands and artists that survive contact with a real rollout.
Promo films cut to the music, not to a generic edit template — including the Leadway Customer Service Week film.
Cover, image, video, rollout and sound belonging to the same world — trained on two EP releases.
“These designs were exactly what I needed. It’s rare to be able to describe what I want and have someone actually deliver that.”SKAAME — ARTIST
Yes — direction decides what the work should feel like; execution makes the visual, motion and release materials agree. Co-production credits on two released EPs.
Yes — co-production credits on two released EPs. The sound system on this site streams the real masters.
Yes. Direction is deciding what the work should feel like and holding the bar — whoever’s hands make it.
Bring the idea.
START A PROJECT →Graphic design is still the base layer underneath everything: type, composition, rhythm, hierarchy, image and the ability to make information feel inevitable.
BOOK A DISCOVERY CALL →The work ranges from cover art and cassette packaging to pitch decks, lyric visuals and training material. Different outputs, same craft.
The BlvckOreo cover series, Bedroom Recordings II and The Basics of Graphic Design make that range visible.
Cassette packages and cover series where each release adds to the world instead of restarting it.
Pitch decks and editorial layout — information arranged to feel inevitable.
Beat-locked promo films and lyric videos built from the song itself.
Type, rhythm, hierarchy and image — the base layer underneath everything.
Yes — the BR2 cassette package was designed for physical release first. Print discipline makes digital work look expensive.
When nothing is decorative — type, rhythm and hierarchy carry the information and the feeling at the same time, and removing anything else makes it worse.
Yes — several engagements extend or repair an existing system. The wider archive lives on Behance, linked from the Singles & Cover Art case.
Bring the message.
START A PROJECT →I build training like products: clear structure, useful pacing, things people can practise, and material that still exists after the session ends.
BOOK A DISCOVERY CALL →The goal is not to sound clever in a room. It is to leave people with a working vocabulary and something they can use tomorrow.
AI in the Workplace is an 11-module, 90-minute programme with its own web hub, slides and flashcards. The Basics of Graphic Design teaches the craft itself.
Eleven modules, ninety minutes, one live link — company-wide, already run.
Clear structure and useful pacing, built like a product: each module earns the next.
The goal is not to sound clever in a room. It is to leave people with something they can use tomorrow.
Slides, flashcards and web hubs that carry the material after the session ends.
“Michael is a solution thinker — he came into the company and within two months had already thought of effective solutions to optimise our workflow and positioned us to become more AI-inclined.”ABIDEMI AMODU — MANAGING DIRECTOR
Non-technical teams who have to live with AI systems, and operators who have to run them. Both programmes were built for real workplaces, not conference audiences.
Yes — the Birdview programme was delivered inside the client’s operation, on their material, with their examples.
Always. AI in the Workplace runs on a live web hub — one link carries the whole curriculum.
Bring the team.
START A PROJECT →Most projects do not need one. They need the real problem, a clear structure, a good build, a user who can actually use it, and someone who is still around when something breaks.
BOOK A DISCOVERY CALL →Most projects don’t fail at the idea stage — they fail in translation. Designer to engineer. Strategy to build. Vision to production. Every handoff is a game of whispers, and the details that make the work good are the first things dropped, because the person dropping them never knew they mattered.
HABIBCORE is structured so there is nothing to translate. The person who draws the interface writes the code that renders it. The person who defines the voice writes the copy that carries it. When something breaks at 2am, the same person who made it fixes it — no intermediary, no ticket queue, no “let me check with the team.”
That isn’t a hustle flex; it’s quality control. Fewer hands means fewer places for intent to leak out of the work — and it is why the case studies on this site read as shipped products, not proposals.
Start with what is actually happening, not the polished version in the brief. What is broken? Who feels it? What does it currently cost? What would “done” change?
PROOF: LEADWAY PENSURE →Before pixels and code, I work out the structure: the story, the interface, the information, the workflow, the system behind the surface.
PROOF: SKAAME →Errors. Empty states. Data. Permissions. Content. The bits nobody puts in the hero shot. If those are not designed, the product is not designed yet.
PROOF: RELAY →A prototype tells me what I think. A real user tells me what I missed. The fastest way to validate a design is usually to get it into production.
PROOF: BISCUIT AI →Launch is not the finish line. The useful part is seeing what real use does to the thing and fixing what the first version could not know.
PROOF: OLUMAYOWA →Substantial projects are documented on the same spine the identity system uses — so every case study reads the same way, at whatever depth the evidence supports. Each plate, seen in a shipped thing:
THE IDEA AND THE BUILD SHARE A SKULL. NOTHING GETS SIMPLIFIED ON ITS WAY FROM SKETCH TO CODE, BECAUSE NOTHING TRAVELS.
PROOF: BISCUIT AI →STRUCTURE FIRST: IDENTITY, ARCHITECTURE, DATA MODEL. SURFACE IS THE LAST DECISION, NOT THE FIRST.
PROOF: RELAY →EVERY CLAIM ON THIS SITE LINKS TO A SHIPPED THING. IF THE WORK CAN’T CARRY THE SENTENCE, THE SENTENCE GOES.
PROOF: THE FULL INDEX →SHIP IS A MILESTONE. THE PRODUCT IS ANSWERABLE AFTER IT — AND SO IS THE PERSON WHO MADE IT.
PROOF: AI IN THE WORKPLACE →Only by request. The default is that the person who designed it builds it — that’s the whole quality argument. When a client has their own team, I ship specs and systems they can execute without me in the room.
The problem, in plain language — what’s broken, what “done” looks like, and what it currently costs you. The brief gets sharpened together; the process below takes over from there.
Yes. Several engagements were extensions or repairs of existing systems — audit first, then standardise what drifted and specify what’s missing. Relay was inherited mid-build.
The work is finished when it works, not when it looks finished.One person answerable, 2am included.
START A PROJECT → SEE IT APPLIED — THE WORK →I started in music and visual design. Then I spent years inside financial-services operations. Then software became part of the job. Now HABIBCORE sits in the middle of all three.
Today that means product: interfaces, web apps and AI-assisted software — designed by me, shipped by me. One person answerable for the whole thing, from the first sketch to the production logs. The email at the bottom of this page reaches the same pair of hands — 2am included.
“I learned taste in music. I learned systems in operations. I learned patience in software.”
Music was the first place I learned that taste is not decoration. A cover changes how a record feels before the first track starts. A rollout either belongs together or it does not. That became graphic design, art direction and brand work.
Four years inside a financial-services organisation changed the way I think. I saw what happens when processes are real: people skip steps, spreadsheets become infrastructure, the same questions appear every day, and the difference between a good idea and a usable one gets expensive very quickly.
Clients don’t buy deliverables here. They buy the absence of translation loss: one brief, one conversation, one person answerable for all of it. That is the whole pitch — every case on this site is the evidence.
Eventually I stopped waiting for someone else to build the thing. I started writing it. First as tools and automations, then as products, assistants, portals and the systems underneath them.
Today I work across brand, product, software, AI, automation, creative direction, graphic design and training. That sounds like a lot until you look at the common thread: I like figuring out how a thing should work, then getting close enough to it to make it real.
I slot into your operation, not beside it — the way the Birdview engagement ran for years: plug-and-play, in your context, on your material.
Identity systems and art direction for artists and businesses. Where the eye got trained.
Four years inside one of Nigeria’s largest pension funds, building the systems that keep the work moving.
Built and improved the systems behind a Canadian immigration operation: an AI-assisted CRM spanning an 18-stage client pipeline, workflow automations, process documentation, AI evaluation, and an eleven-module company-wide AI literacy programme.
CRM builds, process automation, AI training — and products designed and shipped solo, end to end.
“He heard the song once and came back with a cover that looks exactly how it sounds. Me and my manager didn’t ask for a single change.”
Before the software there was music — production, writing and release work under the name Blvck Oreo. The sound system is wired in now: tracklist, deck, and a mark that reacts to what is playing. The deck plays the real masters — production, writing and release work, 2021–2023.
Tell me what is broken, what you are trying to make, or what should exist but does not yet. The rough version is fine. We can make it clearer together.
This site contains sound — the Blvck Oreo set is wired into the deck. Choose your start state; nothing autoplays either way.