While additive manufacturing unlocks new structural freedom, we saw more than performance potential - we saw design freedom. For nearly three decades, modern putter silhouettes have largely been shaped by the limitations of traditional CNC milling. Flat planes, softened bumpers, predictable cavities - efficient to machine, easy to produce, and safe to sell. With metal 3D printing, those constraints no longer apply. We began asking a different question: if manufacturing were no longer a limitation, what could a putter look like? The answers were not subtle evolutions, but rather departures.
Much of our inspiration came from outside of golf. We studied modern sports cars, where engineering and aesthetics are inseparable, and where the ownership experience extends far beyond raw performance numbers. High-end automotive design does not exist in isolation - it draws from architecture, watchmaking, and luxury leather goods to create a cohesive identity. We were drawn to the discipline behind those industries - prevision surfacing, intentional negative space, tension in linework, and material honesty. A great sports car does not apologize for its geometry, it communicates purpose at a glance. We believe our putters do the same.
The parallels between automotive and putter design become increasingly clear. In the early 2000s, low cost, high production sedans like the Honda Accord defined safe and familiar automotive design language. Efficient and reliable, but restrained by manufacturing scale and cost targets. In many ways, putter design has followed a similar path since the widespread adoption of CNC milling nearly 30 years ago. Shapes became optimized for production ease rather than expressive possibility. We see the similarities in design between 2000s high-production cars and the putters on the market today, as if they are nearly 20 years behind in design trends. We saw an opportunity to close that gap and step outside of the cycle.
My own design path led naturally to this moment. My interest in sporting good design began early - redesigning KU basketball jerseys and football helmets, sketching baseball gloves and bats, and reimagining Nike basketball shoes. In high school, that curiosity expanded into drafting, graphic design, computer science, and user interface design. At the University of Kansas where I studied Industrial Design, my sophomore final sketch project focused on golf putter heads - an early indication that the intersection of sport and form would remain central to my work.
Professional experience sharpened that perspective. At Garmin, I was exposed to niche user groups and the discipline of experience design, while continuing to study golf’s visual language at its intersection with technology through their consumer electronic market. At Milwaukee Tool, I gained direct exposure to metal 3D printing and structural part testing, learning how internal geometry could manipulate strength, weight, and acoustics at scale.
Later, at Priority Designs, I worked with a large golf club OEM client on their high-end putter line refresh. It was during this time that I developed a strong appreciation for the established processes that have defined putter manufacturing for decades. However, at the same time, advancements in additive manufacturing were revealing new structural and aesthetic possibilities. The clear contrast between proven methods and emerging capability was inspiring, rather than limiting.
We understand our aesthetic may feel unfamiliar at first glance - that is intentional. Every meaningful shift in design language feels that way in its early stages. As new manufacturing technologies mature and companies become more willing to take calculated risks, golf clubs will inevitably evolve. We simply chose not to wait. Our work reflects the belief that performance and beauty can advance together, and that the future of putter design will not look like its past.
