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 like this expands capability across an entire team. it eliminates undesirable production tasks while improving consistency. Motion design at scale becomes less about producing individual graphics and more about designing the infrastructure that enables better workflow.

I developed an internal plugin for Adobe After Effects that transforms world map and geospatial data into a motion design workflow purpose-built for rapid scene generation. The tool allows designers to navigate a globe interface, establish waypoints, define regions of interest, and automatically generate layered compositions in multiple aspect ratios for downstream animation and delivery.

I designed to reduce friction in location-based storytelling and information visualization, the system streamlines the creation of map-driven sequences commonly used across defense media, broadcast graphics, situational awareness visuals, and technical communication environments. Rather than manually rebuilding geographic scenes for every deliverable format, designers can quickly establish a geographic narrative framework and generate composition-ready assets directly inside After Effects.

FleetLab 1.0, an innovation-focused initiative centered around real-world autonomous maritime systems and live deployment challenges. FleetLab challenged participants to engage directly with autonomy, machine learning, navigation logic, and operator visualization problems, requiring media that could communicate complexity with momentum.

A significant portion of the contribution centered on helping concepts become tangible. Early-stage ideas often exist as language, technical requirements, or strategic objectives; motion design becomes the bridge that gives those ideas presence. Through experimental prototyping, and cross-functional collaboration, abstract systems were translated into media experiences that felt aligned with both the technological ambition and operational seriousness of the event.

The resulting work created media that communicated speed, capability, autonomy, and technical rigor. Reinforcing FleetLab not simply as an event 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. A long-term series that’s evolved through three distinct forms, each reflecting both the growth of the sport and the way its community consumes culture. It built a foundation of knowledge and identity while proving that the community was hungry for deep, thoughtfully presented content.

Now in its third form, Technica has expanded into an immersive world-building project aimed at sharpening athletes’ mental edge. This version moves beyond technique into psychology and culture, creating a layered experience that includes tokens, structured lessons, and even a constructed language. It’s not just media anymore, it’s a fictionalized, gamified training universe designed to challenge the way athletes think about performance and mindset.

Technica represents the power of iteration and reinvention. What began as a niche zine has become a cultural platform, a community touchstone, and now an experimental world that pushes the boundaries of how athletes engage with 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 that exist without apology, stripped of ornament, reduced to essential presence. The typeface is built around uncompromising geometry and proportion, a rejection of stylistic flourish in favor of raw typographic structure.

The design process involved a highly technical approach, where specimen analysis became less about decorative testing and more about stress evaluation: kerning tables under maximal compression, optical weight distribution, and the durability of letterforms under scale shifts. In this sense, NetPro Sans is not just a typeface but a study in endurance-typography that resists erosion by trend, operating as a structural system rather than a stylistic gesture.

In 2024 I directed a Jordan Brand campaign shoot with the rapper 6lack and his daughter in Atlanta, marking my first time directing solo, and doing so with a major talent. The project carried weight not just because of the brand and the artist, but because of the intimacy of the story we were telling: a father and daughter, captured through the lens of style, culture, and authenticity.

Balancing the scale of the content with the need for personal, human storytelling was the challenge I embraced. It required me to take full ownership of the shoot. Managing the creative direction, working closely with 6lack and his team, and ensuring that the campaign visuals delivered both cultural credibility and emotional resonance.

The experience was a turning point: proof that I could lead at the highest level, guide a major talent with confidence, and translate vision into imagery that served both the brand and the moment.

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

Each study begins from legitimate analytical methods. Rather than depicting future technology as polished or utopian, the visual language frames these systems as remnants: machine processes continuing long after their original operators have vanished.

Tools vary by problem space and include standard motion pipelines alongside realtime systems development, browser-based tools and coding environments. The archive functions less as a prediction of the future and more as a study of observation itself: measurement without witnesses, systems without operators, and scientific instruments continuing to ask questions long after the civilization that built them has disappeared.

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, but this was more than a technical experiment, it was a fine art exploration of scarcity, value, and perception. Every aspect of the system, from generating wallets to logging transactions and even mining coins, was designed to function as a real, operational network, while simultaneously questioning the meaning we assign to digital assets.

The project exists at the intersection of code, economics, and conceptual art, demonstrating how technology can be leveraged not just for utility, but for provoking thought and challenging assumptions. It’s a system you can interact with, mine, and trade on, yet it carries the conceptual weight of a sculptural piece: scarcity and value are encoded both in the software and in the ideas it represents.

For me, this work showed how design and code can blur into philosophy, where building a working product also becomes a statement about culture, ownership, and the strange economies we create.

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.