I was able to provide a full graphics package for the production designer of 2024 Disney Television Discovers: Talent Showcase, leveraging my brand design skills and motion graphics experience.

A workplace comedy featuring up and coming Disney actors, the showcase lampooned the tech industry with deft writing and physical comedy.

The HellaTech logo I created was extended to UltraHD monitors on set. I animated several looping sequences as well as a glitchy HellaTech ID for the ransacking of the headquarter’s lobby.

I am the producer and motion graphics designer of a series of member profile videos for The Art Directors Guild and their DEI Committee.

This forthcoming series will feature diverse members of the guild, from each of its four crafts. Their experiences entering and working in the entertainment industry are meant for an audience of younger individuals with artistic ambitions but who may not have previously considered film and television as a career path.

The videos were created for both 16:9 and 9:16 aspect ratios for different social platforms.

I conceived, produced and animated these high level explainer videos for the debut of the Amgen Data Marketplace.

In writing the script for the launch video (and subsequent information governance followup), I aimed to distill the goals of the enterprise platform into easily digestible elements. These could then be presented in a simple whiteboard aesthetic with a unique voice.

The creative executed in this process informed concurrent user experience efforts prior to the platform launch.

The One Day at a Time reboot for Netflix was my first project with Norman Lear. I produced, shot and edited the Netflix show’s title sequence – cut to the beat of Gloria Estefan's version of the original theme song.

Familial and political histories are depicted with historical photos of the Cuban exodus campaign, Operation Pedro Pan. The Echo Park neighborhood and Latinx experience were other key ingredients, as was a nod to Justina Machado's character Penelope being both a nurse and a veteran.

I was asked to create the titles for the live re-stagings of some of Norman Lear’s most enduring and beloved situation comedies. Through my existing working relationship with Lear and my deep understanding of the source material, I was able to provide a unique perspective.

My motion graphics sequences for ABC’s Live in Front of a Studio Audience specials – three in total, from 2019 to 2022 – used the iconic settings for each series as a jumping off point, with a graphically fresh take on the classic material.

This interactive feature was created for 20th Century Fox Home Entertainment for their Blu-ray release. The interactive Cosmic Calendar visually conveyed the entire span of creation - from the Big Bang to the present day - as a 12-month calendar.

Following an introduction by Executive Producer Ann Druyan, one could navigate the at-a-glance calendar, view clips from the series and access other information related to the creation of our galaxy and the universe beyond.

The project was awarded a CLIO Entertainment Award for excellence in marketing and communications.

With producer Rhys Ernst, I designed the opening titles for Joey Soloway's landmark series, Transparent.

The Amazon Prime series was not my first collaboration with Soloway. I had the unique advantage of being the art director and opening titles designer for their feature film, Afternoon Delight. That film - starring Kathryn Hahn and Juno Temple - debuted at the Sundance Film Festival and was awarded the U.S. Dramatic Directing Award.

I was also the production designer and main titles designer for Una Hora Por Favora - a comedic Soloway short starring Michaela Watkins and Wilmer Valderrama that also premiered at the Sundance Film Festival one year prior.

It was the years of collaboration with Soloway that propelled the creative to a uniquely successful outcome.

This short independent film by writer/director Joey Soloway, starring Michaela Watkins and Wilmer Valderrama premiered at the Sundance Film Festival in 2011.

I was the short’s production designer, and also designed the film's title sequence, one sheet poster and promotional CD packaging.

The following year I was the art director and title sequence designer for writer/director Joey Soloway’s feature film debut, Afternoon Delight. 

The sequence was intended to give the audience a glimpse of the ennui of its protagonist Rachel (Kathryn Hahn). It was framed as a pensive and yet restless moment in an LA car wash.

At its Park City debut, Soloway won the Sundance dramatic director award for the feature.

Deadpool comic book fans have long been acquainted with its hero’s irreverent sense of humor, over-the-top violence and a slight chimichanga obsession. The menu creative for Fox Home Entertainment’s home entertainment release leverages these key attributes.

For these releases I edited the video montages and shot & directed a special video shoot.

For the first Deadpool a special 4k video shoot was done in-house to achieve a POV sequence within a microwave oven.

For Deadpool 2 a time-warp concept gave rise to VHS era animated logos and creation of a Saturday morning cartoon style clip.

With my background in film, I was well suited to design many projects for New Love Films, including pitch book presentations, website design, main titles design, lower thirds creation, and animated infographics.

For American Pot Story, I also created the key art for their festival poster and flyers, which leveraged the growing number of festival laurels as a design element.

After years of working with New Line Cinema and director Peter Jackson on the home entertainment releases of the epic J.R.R. Tolkien theatrical adaptations, I was hired to design the end title sequence for the third film in the Lord of the Rings trilogy.

Working alongside Alan Lee - the Academy Award-winning concept designer of the films - I developed techniques for highlighting Lee's sublime cast portraits as well as providing a visual 'return journey' from Mordor.

The 11-minute sequence - set to an original Annie Lennox composition - spanned 37 individually credited names and 57 end crawl layouts.

I wanted to bring immediacy and intimacy to the titles for Gloria Calderón Kellett’s Amazon Prime series With Love.

With just a couple quick beats for the main title and day & date card, the audience knows where - or more specifically, when - they are in the romantic lives of the Diaz family as told over the course of a year.

Each background was selected, framed or shot based on the holidays depicted in the Amazon series’ two seasons.

The last entry into the Planet of the Apes’ Caesar story arc was at its core a classically structured war movie. In order to forefront the elements of human / ape conflict that had been building in the series, I conceived of and shot a stark intro sequence for 20th Century Fox’s home entertainment release on UHD/Blu-ray/DVD/iTunes. 

The menus begin on a white field - a nod to the snowy environs in this final chapter - and are immediately punctuated by bursts of red. Silhouettes of the Andy Serkis character are revealed in this brief sequence, timed to the beats in Michael Giacchino’s score.

I’ve created a range of illustrated or animated logos for various show titles or production company IDs.

Time-based logo development presents creative challenges and opportunities - making the most within very brief runtimes.

I was the production designer and motion graphic artist for Funny or Die’s short video, Church & State. 

Directed by Joey Soloway and starring Jane Lynch as ‘Church’ and Jordan Peele as ‘State,’ the tension (and attraction) between the two characters was presented as a 1970s era television variety show.

I designed the UHD/Blu-ray/DVD/iTunes menus for Noah Hawley’s FX show, Legion. The first season of the show established its unique visual style and ungrounded protagonist, and the motion graphics montage for this release echoed the same playfulness and instability.

I designed and produced this interactive feature for the critically acclaimed FX series, American Crime Story: The People v. O.J. Simpson. 

The timeline - designed for the Blu-ray release - was intended to enhance the series’ adaptation of events by allowing the viewer to delve deeper into the real-world courtroom drama.

Clips of the show accompany fifty-plus factual events that gripped the nation over twenty years ago.

I designed the Blu-ray menus for Lost in Space: The Complete Adventures for Fox Home Entertainment to reflect the tone and personality of each season.

From the earnest family-in-space adventure of Season One, to the Technicolor alien-of-the-week campiness of Season Two, to the reinvented spirit of exploration of Season Three – each look was conceived to be on brand for that particular season.

Above all, the series presented indelible characters set against fantastical alien surroundings, and the motion menus showcase those attributes. The release spanned 83 remastered episodes over 18 discs.

I brought my design experience to this series of projects for Pixelogic Media for The Walt Disney Company.

For the re-release of multiple James Cameron films on Blu-ray, 4K UHD, and iTunes, I leveraged the key art for each property and reformatted the designs to landscape aspect from their original portrait orientation.

I’ve been integrating generative AI in my development workflow, and I enjoy experimenting with it for personal projects.

Pictured:

• Midjourney re-creations of a personal memory: a house explosion I experienced in childhood, of which I had no visual documentation. When the house behind us was engulfed in fire in the middle of the night, I took my caged parakeet and dog to a safe distance.

• AI imagery intended for a director’s pitch deck.

My fine art education and eye for detail and consumer trends allow me to create logos for both filmed entertainment and corporate America.

Pictured below are some representative samples of logo and brand design.

• HellaTech logo for Disney’s Talent Showcase 2024. Final logo variations and HellaTech HQ lobby view.

• Coffee truck logo and vehicle graphics for Afternoon Delight.

• Live in Front of a Studio Audience logo and title screens for Act III Productions.

• The Liaison logo for an Anderson Cooper / Jane Lynch segment on the 63rd Primetime Emmy Awards.

• Church & State logo for Funny or Die, featuring Jane Lynch as ‘Church’ and Jordan Peele as ‘State.’

• Amgen Data Marketplace logo and branding.

My primary contribution to this photo-sharing app by Disney Interactive was in designing a rich media presentation of users' snapshots and stories.

The app was intended to leverage The Walt Disney Company's wide range of intellectual property into personal - and sharable - mementos, for busy parents and their extended family and friends.

A huge admirer of Matt Groening, I designed and produced the interactive features and DVD and Blu-ray menus for the Comedy Central movies and Fox Home Entertainment's final four seasons of Futurama.

In addition to the animations, each release required multiple original illustrations, extending the futuristic world of the show.

On behalf of Fox Home Entertainment I worked with director Alfonso Gomez-Rejon’s illustrator for the film - Nathan Marsh - to create original video vignettes for the Blu-ray, DVD + iTunes menus.

Six vignettes were made recreating key environments seen in the film, but as illustrated, paper cut-out constructions. The watercolor dioramas were then puppeted before a continuously panning camera, with strips of colored paper added in post-production to seam the vignettes into a singular, on brand experience.