Sixteen commissions, drawn since February.
A complete index of the commissions drawn at Creative Labyrinth between February 2025 and the date of this revision. Three of them have their own sheets; the rest live as entries here and, where the client has agreed, photographs in the archive.
How this sheet is laid out.
Each entry has a number, a name, a year, a discipline, and a short blurb. Numbering is chronological from N° 001, which was the first drawing the studio billed for — a small one-week constraint study for a Bath-based ceramicist who is mentioned nowhere on this sheet and never will be. Entries with their own detail sheet are linked. Entries marked NDA are exactly what they sound like; we list them because their existence is part of the studio's pattern, even if their content is not ours to share.
On the drawing boards now.
-
№ 016Quarter SectionA model for an urban infill practice in Manchester, trained on twenty years of corner-site studies. Drawing in progress.
-
№ 015Bone & LacquerA constraint-first joinery model for a small Japanese-British furniture workshop. The constraint book is up to forty-three rules; the model knows about wood grain.
-
№ 014A facade generation model trained on a London practice's twenty-year residential archive. The first commission to ship a constraint book longer than the model card.
-
№ 013A constraint-first generative tool for a homeware brand. Forty rules of manufacture decide what the model is even allowed to dream about.
Shipped and signed.
-
№ 012A typeface and signage programme for a regional museum, woven by a model trained on the museum's own century of printed catalogues.
-
№ 011CalcareousA small generative model that proposed stone-laying patterns for a public square in Bath, constrained to Bath stone and to the existing 18th-century rhythm of the surrounding facades.
-
№ 010LoadbearingA generative tool for a British lighting brand. The constraints were almost entirely structural; the aesthetic side fell out of the physics, as it tends to.
-
№ 009FerruginousAn identity programme for a small ironwork foundry. The model learned how to draw rust truthfully, which is harder than it sounds.
-
№ 008North LightA facade and skylight study for the conversion of a Yorkshire mill into artists' studios. Drawn alongside the architect of record.
-
№ 007VoluteA generative spiral-form study for a ceramicist whose practice we admire enough not to name. Three vases were thrown from the outputs.
-
№ 006Carrick BendA small typeface and chartwork system for a sailing magazine. The model learned about rope, which is a topology problem in disguise.
-
№ 005EndpaperA generative endpaper system for an independent publisher of poetry. Each book gets a pattern that is half model, half editor's choice.
-
№ 004RegletA constraint-first detail library for a small architectural joinery firm. Two hundred mouldings, every one of them millable on their existing CNC.
-
№ 003DrypointA studio model for a Bristol printmaker. The model is small enough to live on her laptop and large enough to be useful when she travels.
-
№ 002CoppiceOutbuilding studies for a rural estate in Devon. Bracken, drystone, and exactly one pitched roof per acre.
-
№ 001MarlThe studio's first billed commission. A one-week constraint study for a Bath ceramicist who works only in local clay. We learned more than we earned.
The shape of the studio's year.
| Architecture | Six commissions · 38% of billable days · mostly residential and cultural; very rarely commercial. |
|---|---|
| Industrial design | Six commissions · 32% of billable days · furniture, lighting, ceramics, joinery; we have not yet done a vehicle. |
| Identity | Four commissions · 26% of billable days · type, signage, endpapers, chartwork; we have not yet done a tech company. |
| Internal R&D | 4% of billable days · usually the constraint-validator codebase that we keep maintaining between projects. |
Who keeps coming back.
Most of our clients are small studios — two to twelve people — with their own practice and a reason they need a generative tool that nobody else's tool can be. About a quarter are cultural institutions: museums, foundations, presses. The remaining slice is individual practitioners with a clear hand and an archive worth training on. We have never worked for a company with more than three hundred staff and we do not, on the evidence, plan to.
Repeat business is a vanity metric for a studio our size, but we will admit to one: four of the sixteen commissions on this sheet are second engagements with clients we previously shipped to. The four are spread across the three disciplines.
The work that does not appear here.
Three further commissions are not listed on this sheet because the clients prefer absolute discretion. One is an architectural practice; one is a fashion house's accessories programme; one is a private archive of family papers that asked us to train a model on a single handwriting. Their existence is mentioned for honesty; their content is theirs.
We also occasionally take on pro-bono work for cultural archives that cannot afford the studio rates. We do at most one such commission a year, we do not advertise the slot, and we treat it like a paid one in every respect.