Ceramics are a physical medium being shown on glass, so the design compensates deliberately: close-up photography that catches glaze and thumbprint, a clay-and-cobalt palette, and layouts generous enough to give each object weight instead of stacking pieces like a catalog.
The commission form is the real machinery. An open contact box produces “I love your work, are you taking commissions?” — which starts three rounds of email before anyone can say yes or no. This one asks for project type, budget range, timing, and a brief, so the first reply can be an actual answer. Object stories carry materials, year, and availability; stockists and collection-drop dates serve the people who want to buy rather than commission.