Motion, Interaction &
Speculative Visuals For
Brands & Emerging Media.

What I enjoy most about working at the principal level in motion design is creating systems rather than only outputs. Building tools that expand team capability eliminates repetitive production tasks, improves consistency, and shifts motion design at scale from producing individual graphics to designing the infrastructure that enables better workflows.

I developed an internal Adobe After Effects plugin that transforms world map and geospatial data into a motion design workflow built for rapid scene generation. The tool allows designers to navigate a globe interface, define waypoints and regions of interest, and automatically generate layered compositions across multiple aspect ratios. The tool streamlines map-driven sequences used in defense media, broadcast graphics, situational awareness, and technical communication by creating composition-ready assets directly inside After Effects.

FleetLab 1.0 was an innovation-focused initiative centered around real-world autonomous maritime systems and live deployment challenges. The program required media that could communicate complex concepts across autonomy, machine learning, navigation logic, and operator visualization with clarity and momentum.

A significant part of the work focused on transforming early-stage ideas, technical requirements, and strategic objectives into tangible media experiences. Through experimental prototyping and cross-functional collaboration, abstract systems were translated into visuals that conveyed speed, capability, autonomy, and technical rigor,reinforcing FleetLab as a space where software, systems engineering, and real-world deployment intersect.

Technica has been one of the most ambitious and experimental projects I’ve created for Shoyoroll. Evolving through three distinct forms, the series reflects both the growth of the sport and the changing ways its community engages with culture, building a foundation of knowledge, identity, and deeper connection.

Now in its third iteration, Technica has expanded into an immersive world-building project focused on the psychology, culture, and mindset of performance. Combining structured lessons, tokens, and a constructed language, it transforms from a media project into a fictionalized training universe designed to challenge how athletes think about their craft.

NetPro Sans is my third completed typeface design, a project I describe as a “Pure Typeface.” Brutalist in philosophy and execution, it draws inspiration from the material clarity of Richard Serra’s sculptural work. Forms stripped of ornament and reduced to essential presence. The typeface is built around uncompromising geometry, proportion, and structural clarity.

The design process took a highly technical approach, treating specimen analysis as stress evaluation: kerning under compression, optical weight distribution, and letterform durability across scale shifts. NetPro Sans is a study in endurance, an adaptable structural system designed to resist stylistic trends.

In 2023, I directed a Jordan Brand campaign shoot with rapper 6lack and his daughter in Atlanta, marking my first solo directing role with a major talent. The project carried significance not only because of the brand and artist, but because of the intimate story being told: a father and daughter captured through style, culture, and authenticity.

Balancing large-scale production with personal storytelling required full ownership of the creative direction, collaboration with 6lack and his team, and a focus on delivering visuals with both cultural credibility and emotional resonance. The experience became a turning point, proof that I could lead at a high level and translate vision into imagery that served both the brand and the moment.

This ongoing body of work imagines a distant future where observational infrastructure continues operating after humanity has disappeared or fundamentally transformed. Autonomous sensing systems, orbital platforms, atmospheric networks, and machine-maintained archives continue generating measurements without human interpretation.

Each study begins with legitimate analytical methods, using a visual language that frames future technology not as utopian progress, but as remnants of machine processes continuing beyond their original purpose. Combining motion pipelines, realtime systems, browser-based tools, and code-driven environments, the archive explores observation itself: measurement without witnesses, systems without operators, and instruments continuing to ask questions after their creators are gone.

Scriptive is a dockable panel for Adobe After Effects designed to streamline how expressions are viewed, edited, and reused.

I Built this plug-in to eliminate the hassle of digging through layers and working out of word documents to store expressions. Scriptive centralizes expression workflows into a single, focused interface. It allows users to quickly inspect expressions across selected properties, edit them in a dedicated environment, and store reusable logic in a personal library for rapid application.

The result is a faster, more organized approach to building and managing expression-driven systems, turning a fragmented process into something deliberate and repeatable.

The Spring/Summer 2024 campaign for JD Sports began in a meeting where I shared a set of explorations inspired by the work of Marc Jacobs. What started as sketches and moodboards quickly became a central inspiration for the entire creative team, sparking the concept that carried through the full campaign.

I led the campaign in shaping the its visual identity: Directing, overseeing design and ensuring consistency across every medium. I also drove the print design rollout for more than 200 stores nationwide, building an in-store presence that matched the campaign’s energy.

In parallel, I crafted a series of unique, frenetic motion experiences designed to capture the feeling of world travel: fast, immersive, and full of momentum. These digital elements elevated the campaign beyond traditional fashion retail into a more dynamic, cultural experience.

The result was one of JD Sports’ boldest seasonal campaigns ever: a project born from inspiration, scaled through leadership, and delivered with a visual intensity that matched the pace of global culture.

During the 2024 Nitrocross Season, I had the chance to design a Busch Light rally car livery for a Nitrocross event. An unexpected but perfect collision of passion and craft. Rally has been something I’ve followed and enjoyed since I was young, so stepping into that space as a designer carried a personal charge.

The project also tapped into a distant but formative part of my background: years earlier, when I was first getting started, I worked in a sign shop. There, I learned not just the technical aspects of vinyl production, but the tactile realities of how design wraps, bends, and moves on a vehicle. That experience came full circle in this project, shaping how I approached the livery with both creativity and practical understanding. For me, it was also proof of how early experiences in design keep paying forward, and how passion projects often lead to the most fun and rewarding work.

In 2020, I built a fully functional cryptocurrency using Python and JavaScript as a fine art exploration of scarcity, value, and perception. Every aspect of the system—from wallet generation and transaction logging to mining was designed as a real operational network while questioning the meaning we assign to digital assets.

The project exists at the intersection of code, economics, and conceptual art, demonstrating how technology can serve not only utility, but also critical inquiry. It is a system that can be interacted with, mined, and traded, while carrying the conceptual weight of a sculptural work: encoding ideas of scarcity, ownership, and value directly into its structure.

Coming soon: a visual identity for a nonprofit connecting unhoused communities to essential cellular service. Built around the idea that access to communication is access to opportunity, the project reimagines connectivity as a lifeline—linking people to resources, support systems, and each other.