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official profession

Creative Director

unofficial professions

bartender, city slicker, mid-century furniture ogler, whiskey sipper, gift giver, dog snuggler

alma mater

Savannah College of Art & Design

past life


design commandments

lots of white space, clear type hierarchy, cohesive color palette, touch of whimsy, remove a piece of jewelry before you leave the house

mild obsessions

the 1920s, men’s luggage, architecture, gin cocktails, New York, Schitt’s Creek, social justice, chihuahuas

favorite passport stamp

Hong Kong


most anything with gin or whiskey


“Vienna” by Billy Joel



design inspiration

Kate Spade, Josef Muller-Brockmann, Alexey Brodovich, Herbert Matter, Milton Glaser, the New York school


The Little Prince, anything Audrey Hepburn


attending the symphony


Gatsby the Italian greyhuahua

eye candy

  • Luv2
  • identity | spoken for
  • CongrueIT
  • Ales & Tails
  • Espressivo
  • Milton Glaser
  • Barnes & Noble
  • Design Within Reach
  • American Poets Collection
  • Big House
  • A Symphony is Nothing
  • Akropolis
  • Heal Reel
  • Stash
  • An Evening of New Music
  • Photography



Savannah College of Art & Design
Atlanta, GA
Bachelor of Fine Arts
Graphic Design

Savannah College of Art & Design
Sham Shui Po, Hong Kong
Graphic Design

The University of Michigan
Ann Arbor, MI
Bassoon Performance
Art and Design


graphic design
creative direction
digital marketing
email design
responsive web design
front-end web development
UX/UI design
copywriting & editing
project management



I write code.


I copy and edit code.


PDI Software
Dallas, TX
Creative Director

Responsible for the entire Marketing Cloud Solutions Creative department. Continuing responsibilities from Senior Art Director position while preparing to build out the team with an Art Director, Traffic Manager, and more Graphic Designers. Define branding for all new Convenience Retail products and the look and feel for Fuel Rewards® partner promotions across web, email, and mobile channels.

Senior Art Director

Managed and provided art direction to Graphic Designers to ensure excellent use of design fundamentals, industry best practices, and brand consistency. Wrote and edited copy and advised on consumer UX. Continued to design for print, email, web, and mobile experiences. Managed brand consistency for Excentus “a PDI company” and the Fuel Rewards program. Managed the delivery of all creative projects.

Dallas, TX
Senior Graphic Designer / Creative Lead

Continued responsibilities from Graphic Designer position, adding review of all B2B and B2C assets for brand consistency, design quality, and copy. Single point of contact between Marketing Managers and Designers, responsible for managing all creative. Began writing creative copy and trained a new Graphic Designer.

Graphic Designer

Designed B2C digital marketing assets for web, print, email and mobile app, primarily for the Fuel Rewards brand. Designed, coded from scratch, and maintained microsites for Excentus, Centego, and Fuel Rewards B2B. Designed an internal campaign illustrating the company’s purpose and values.

Freelance Graphic Designer

Work includes identity design, album design, web design, mobile app design, business cards, wedding stationery, and whitepapers. Clients include the Akropolis Reed Quintet, Atlanta Pregnancy Resource Center, Desire Street Ministries, CongrueIT, Kept Clothing, MotionLink, Luv2, and several individuals.

N2N Services
Duluth, GA
Graphic Designer (Contract)

Interface design and user experience for N2N Mobile. Included research, icon design, and visual design for app.

University of Michigan Recreational Sports Programs
Ann Arbor, MI
Marketing Manager

Produced designs for the University of Michigan Club Sports, Intramural Sports, the Challenge Program, Outdoor Adventures, and Wolverine Officials Association. Work included t-shirts, web and print ads, mailers, and more.

chit chat

Luv2 is an interest-matching app for committed couples. It learns about both partners’ interests through brief questionnaires and suggests activities based on the couple’s responses. In addition to these suggestions, or “Luv2s,” the app also generates Luv Tips which are event-based, such as anniversary reminders. Luv2 has huge opportunities for in-app purchases, advertising, sponsors, coupons, and social media integration.

I was brought on to the Luv2 team shortly after its inception and did the information architecture, identity and branding, wireframing, and interface (GUI) design.
The Luv2 mark elegantly combines a heart and the number two into a symbol that remains friendly without being childlike or garishly feminine. The expanded color palette is designed to appeal to men and women across multiple generations and includes light, medium and dark primary and neutral hues as well as four accent colors. The splash screen will feature subtle lifestyle photography and change color depending on the season (lime for spring, tangerine for summer, etc.). The colors in the app icon were chosen because of its ability to stand out on a variety of busy smartphone backgrounds.
I wireframed the user flow using native GUI elements, a generic typeface and only colors necessary to indicate function. It greatly helped the Luv2 team visualize how the features we had in mind would work based on native functionality, and we were able to have richer conversations around how a user would experience Luv2 for the first or fiftieth time.
In the home feed, Luv2s are color-coded based on whether one of the partners suggested the activity or it was generated by the app. A ticket icon indicates an opportunity for an in-app ticket purchase for the event. The expanded view of any activity gives details and allows the user to purchase tickets or invite his/her partner to the event first. The typeface Hind was chosen for its legibility in various sizes, particularly for users who have difficulty reading small type.

I’d love to show you more work from Luv2 in person. Contact me to see the whole story or to inquire about investing.
The Spoken For mark embodies the strength displayed by those taking action against human trafficking. Thick uppercase characters hint at the gravity of modern-day slavery, and the interlocked Os act as the chains literally or metaphorically imprisoning 30 million people today.

The orange color of the broken chain link represents the orange flag waved by the original abolitionists fighting for freedom, and the gray speaks to the cold lifelessness of all of the chains not yet broken.
The stationery collection reflects the modern feel of the Spoken For brand. The signature orange color appears on all letterhead, envelopes, and both sides of the business card. The versatile reversed color mark activates the space at an angle on the back of the business card.
The chains in the Spoken For mark are a powerful symbol when isolated and make a strong icon for the brand. This is ideal for jewelry and other promotional items.

Spoken For’s engraved jewelry is rough and industrial, representing the ways in which modern-day slaves are literally and metaphorically imprisoned. Each piece is appropriate for men and women and is a daily reminder of the fight against trafficking.
Perfect for Casual Fridays or representing Spoken For outside of the office, the corporate polos come in the signature orange which lets the reversed mark pop. visitors should be able to learn about modern-day slavery, find information about the Spoken For organization, donate, get involved, and purchase merchandise. This site provides these options with a straightforward, sleek design.
The Spotlight app allows the user to report signs of human trafficking so that suspicious activity can instantly be brought to light. When a user reports a “Hot Spot,” his report is sent directly to the local police. It can also be used to find a “Safe Spot,” a restaurant or other point of interest which has no reports of trafficking activity and uses 100% fair labor.
CongrueIT was an online community for those who are or who would like to hire independent Information Technology consultants. Founders John Moser (left) and Gerhard Hacker wanted an identity that communicates the integrity and methodology that made their company unique and desirable.
Moser and Hacker evaluated clients and consultants based on three qualities that form a triangle. They matched consultants and clients based on the consultant’s abilities and the client’s needs. CongrueIT came in where the triangles overlap to form a bowtie that represents the “power suit” that consultants wore when they used CongrueIT to amp up their business.
Flash drives are essential for technology professionals, and these dual-ended stylus pens are perfect for CongrueIT clients and consultants. Both are available in company colors. The flash drives feature a tiny version of the company mark. The stylus pens feature an extended mark with the logotype adjacent to the bowtie rather than on it, keeping the mark versatile but consistent.
Ales & Tails serves beer and other refreshing beverages to the patrons of the dog parks at Piedmont Park in Atlanta, Georgia. The beer cart perfectly blends with Midtown’s fun, casual, slightly upscale personality. Dog owners sip their brews while watching their pups play and mingling with neighbors.
The Ales & Tails v-neck is made from 100% organic cotton, satisfying the hippest of Midtown dog owners. It’s a fun way to show your loves for pups and brews, and it helps spread the word about one of Piedmont Park’s best kept secrets.
It’s rough juggling a dog and a drink, but the Ales & Tails koozie makes sure your drink doesn’t leave your hand. The A&T colors complement the park, and the fun logo reminds passers-by that the beer cart is open.
Espressivo is designed for classical musicians. The title is an Italian musical term which tells the musician to play “expressively.” The articles are journal quality in length and intellectual rigor, with departmental and feature stories including interviews with professionals, music-specific current events and medical studies, performance reviews, composition analyses, and more.
The masthead is set in a script typeface elegant enough to respect the formality of classical music but approachable to symphony musicians and patrons alike. The same can be said for the use of Futura as the sans-serif typeface throughout the magazine. Espressivo is large-format, 9" x 12", which gives it the character of a coffee table book and mimics the oversized feel of the sheet music used in symphony orchestras.
The body copy is justified and set in Requiem throughout the publication. This article compares the structure and internal functions of a symphony orchestra to those of Society, so I marked up the copy like a musician makes notes his own sheet music: dynamics, style markings, glasses for “watch the conductor,” etc.
The table of contents is based on a three-column grid with the credits on the left, along with department stories, and features on the right. Department stories are called “motifs” since they are recurring ‘themes’ each month (such as “Premier Pick” and “Extra Shot”), while features are “accents,” or emphasized ‘notes.’
Each story is treated differently, but in such a way that the spreads within a story are cohesive and each story agrees with the elegant character of Espressivo. Simplified versions of these layouts are used for the iPad version of Espressivo (see below).
I designed vertical and horizontal digital versions of Espressivo, so the reader can enjoy the magazine rotated whichever way he wants. Swiping left and right moves between stories, and swiping up and down “turns pages” within stories. Touching the name of a story on the table of contents navigates to it, and touching the symbol in the bottom corner of the page navigates back to the table of contents.
In this article about Mozart’s opera The Magic Flute, each image has an overlay with the lyrics that correspond to the part of the opera from which the photo was taken. The reader can tap the lyrics to play the recording of that section of the opera, which will play until tapped again or until the lyrics on another page are tapped.
In this article about the Symphony and Society, the reader can pan and zoom each image: tap once to enlarge, pinch and zoom to view parts of the image larger, and tap again to return the image to its original size. Throughout the digital magazine, the body copy scrolls; each iPad page represents a spread in the print magazine.
Milton Glaser is one of the most influential graphic designers of the last century. While he is most commonly known for iconic designs like the “I Love New York” logo and the Bob Dylan poster, the volume and longevity of his work speak even more to the importance of Glaser as a designer. His studio, Milton Glaser, Inc., is in Brooklyn, New York.
A capabilities book is an asset for design firms as a tangible demonstration of the types of products they design as well as their talent and credibility. This book is designed as a mailer with a fitted box that would be shrink-wrapped and mailed to potential clients.
The book sleeve features a quotation from Milton: “There are three responses to a piece of design: ‘yes,’ ‘no,’ and ‘wow.’” This quotation also inspired the end paper.
The Gotham typeface family is used as the sans-serif throughout the book, and the body copy is in Requiem. The book is based on a four-column grid, and all of the type is flush left, ragged right. In addition to photographs of Milton’s design pieces in the Work section, several of his illustrations are used in the Introduction and section openers.
The book includes the History, Designers, Services, Philosophy, Work, Clients, Awards, and Contact information for Milton Glaser, Inc. Their portfolio is overwhelming, so the Work section is divided into subcategories containing samples of their designs: Publication, Identity, Promotional, Industrial, Space, and Digital.
Each section opener is made apparent by a solid red page featuring a Milton Glaser quotation and illustration that relate to the subject of the section.
The first page of content in each section is marked by a light blue color block down to the hang line. The copy never extends above this hang line, allowing the content to breathe with the negative space at the tops of the pages.
Finally, additional sample spreads from throughout the book.
Although most publicly-traded companies have transitioned from fully-designed, printed annual report books to short ‘wraps’ around financials or even fully digital annual reports, this project was an excellent exercise in large publication design that required acute attention to detail in financial charts and legal language. When the budget allows, a printed piece can remind an investor how his contributions are changing the world.
As the designer, I was in charge of coming up with the editorial section of the report: the angle; the character, or story, of how I want to communicate what’s happening with Barnes & Noble. “Find Your Happy Place” reminds investors why they love B&N: the experience of walking into the store, finding the perfect aisle, and getting lost in a few page-turners.
The front flap of the book opens to reveal the main table of contents. The die cut square reveals the ‘Find Your Happy Place’ section, unique to this edition of the report. Left: “Everyone has a happy place.” Right: “Find yours INSIDE.” The bookmark shape around “INSIDE” repeats throughout the publication.
The annual report opens with a letter to the shareholders which solidifies the 4-column grid, hang line, typefaces, and footer used throughout the rest of the publication. The sans-serif display type is Lane–Narrow; the body copy is set in Century to complement B&N’s brand; and the fine print in the tables includes bold and fine weights of Helvetica Neue.
The Financial Highlights section includes an assortment of different types of information, including chunks of body copy, small tables with captions, and larger tables with a set of footnotes. These elements allow more room for white space.
Special highlight elements, like the Strategy, stand out from the rest of the copy with tasteful use of the two accent colors used in the publication and the iconic bookmark motif.
Larger tables also use the yellow and violet hues as a soft way of indicating rows. Sums are indicated by yellow rules, and bold and fine type weights distinguish categories from sub-categories. Many annual reports are poorly designed without regard to how investors will read the financial charts, and I wanted to make sure that the numbers make sense and aren’t visually tedious.
Spreads with more copy and fewer numbers are broken up in sections, using yellow all-caps headers and sub-headers. Some columns are made uneven at the bottom to allow for a little breathing room when necessary.
The Financials section has a second, separate table of contents based on the main table of contents. The middle square on the opposite page reads, “Thank you for helping our customers find their happy places.” This makes a personal connection with the reader (investor) and ties the design back to the editorial theme.
The end of the report contains information for the shareholders, including the director and executive boards, stock information, and corporate contact information.
Design Within Reach offers “the best in modern design“ with home furnishings by designers from the mid-century era until the present, including names like Charles & Ray Eames, Ludwig Mies van der Rohe, George Nelson, Isamu Noguchi, and Le Corbusier. Each brochure in this series features the designs of a single designer and includes information about the designer as well as a selection of pieces available for purchase at DWR.
The outside of each brochure features a single piece of furniture designed by the highlighted designer. This is a simple, eye-catching way to create an interesting organic distribution of positive and negative space. The front includes the DWR mark, and the back includes the corporate contact information.
The brochure utilizes a single, sans-serif typeface cohesive with the DWR brand. Point size and color are employed to enforce type hierarchy, and the copy is justified throughout. The brochure is designed with a parallel fold, with the biography inside the first fold and product information on the inside four panels. The brochure fits snugly within a No. 10 envelope.
Inside, each brochure features three pieces designed by the given artist, as well as one panel directing the reader to the DWR website to see more. This panel breaks up the space, allowing for breathing room in the design, and includes thumbnail images of selections from the designer’s other pieces, providing a more complete view of the collection at a glance.
Together, the Arne Jacobsen, Eero Saarinen, and Finn Juhl sample brochures make up the beginning of a classic collection of promotional pieces that could easily be displayed at the front of the retail stores or mailed out to customers seasonally.
I chose to design a series of book covers for a collection of poetry rather than a fiction series because I knew the content would be a wealth of inspiration for illustration. The imagery on each cover is drawn from what lies inside but also tells the story of the mood each genre conveys. Colored pencil, watercolor, gouache, and subtle photo overlays were used to make each drawing feel organic and impossibly textured and intricate at the same time.
The back cover of each volume features the names of the poets whose work is included in the book. This type and the bar code in the bottom corner are aligned on the left, complementing the composition of the illustration. Although each cover’s illustration is certainly unique, they all utilize a similar composition so that a single system can be used for titles, authors, and other elements.
The Modernist imagery is inspired by the work of e. e. cummings. A train spewing violets; a brilliant moon; a hot air balloon with the essence of the woman described so sensually in various poems. The back cover flap of each volume includes a biography of the editor, and the front cover flap contains an overview of the genre.
Although William Blake wasn’t American, his work surely inspired the American Romantics, and the subject of his famous ‘Tiger, Tiger’ poem was too enticing to pass up for the front cover. The musical notation in the blue background is taken from the ninth symphony of Romantic composer Dvorák, and the grasshopper has particularly vivid detail from a photo overlay, speaking to the natural texture of the insect.
Transcendentalism, though saturated by a love for nature, is not devoid of romance, indicated by the intertwined oak trees. Between them stretches a spiderweb, spectacular in its natural beauty. Each book cover was designed as a single illustration that spans the whole cover, flap to flap. Hyphenating the title for this volume was more visually effective than making all of the titles smaller and did not take away from the overall layout of the cover.
Open Up the Big House is a fictitious event hosted by wealthy University of Michigan alumni who are excited to kick off a new football season and are passionate about making the football stadium—the Big House—as big as possible. This high-budget project includes an invitation that folds out into the Big House itself as well as an RSVP card and envelope, all tucked snugly inside the mailing envelope.
The structure of the invitation corresponds with the purpose of the event: to raise funds to make the Big House even bigger. When the recipient opens the envelope (with the sneak preview flap), he is welcomed by the familiar front gates of Michigan Stadium, which symbolize Game Day in Ann Arbor. The die cut words “open up” prompt him to pull the flap downward, physically opening up the invitation into the football field.
The unfolded invitation reveals the details for the event, a view of a Michigan football game from the student section, and the football field indicating the number of seats the stadium would contain after expansion. The liner in the RSVP envelope features the name of the event, and the RSVP card is in the shape of a football with the block ‘M.’
The RSVP card retains the character of the rest of the invitation and makes the experience fun for the recipient. Michigan fans will want to keep the invitation long after the fundraiser kickoff party.
In 2012, the Atlanta Symphony Orchestra musicians faced a lockout resulting from irreconcilable differences with management regarding the budget. Despite weeks without pay, the musicians refused to let politics stifle their involvement with the community and performed free concerts in high school auditoriums. The purpose of this gala was to raise support for the ASO musicians during this difficult time.
The front of the invitation features a die cut of a French horn, violin, and percussion mallets, each representing a different family of instruments. The structure is a variation on a gate fold, so that the sides are folded rather than cut, giving the invitation a more luxurious feel and a cleaner look. The envelope is also custom, with a flap shape inspired by the beginning of a musical staff, and the liner is the Symphony’s signature blue color.
Inside, the left-hand flap contains a purpose statement and the details for the event. On the right, a violinist plays his instrument—the object bringing him life, joy, vigor...
... but it disappears when the recipient pulls down the card where indicated and, when it stops, reveals the succinct message: without musicians, a symphony is nothing. The goal is to remind the recipient what makes a symphony great to begin with: surely the musicians themselves, not the administrators who make deals and cut the checks.
High Speed Reed is the premier album of Akropolis, a reed quintet—oboe, bassoon, clarinet, bass clarinet, and saxophone—created by colleagues of mine from the University of Michigan in Ann Arbor. With five national chamber music awards and over twenty commissions for new compositions, Akropolis “performs an innovative, living repertoire with acclaimed precision.” High Speed Reed is available on Amazon and iTunes.
I had full creative reign for the direction and visual design of the album, and I was fortunate to have a wealth of fascinating track names from which to draw inspiration. We chose to use a space theme represented by graphic illustrations throughout the package and a monochromatic color scheme to enhance the bold images. Futura is the only typeface used in the album.
For the design of the liner notes, essentially a trifold brochure, I wanted the design to be continuous across the folds rather than six separate panels of information. With unique illustrative elements here and there, I used the graphics to break up the space between the separate tracks’ information and utilized unexpectedly-shaped blocks of text while maintaining the integrity of the typoraphical considerations.
The inside of the wallet changed the most during the design process. Drawing from photographs that I took of the quintet in 2010, I preferred to use a single, achromatic photograph that would be simple and cohesive with the rest of the monochromatic design. However, the clients preferred to include a group photograph as well as individual shots and requested a layout inspired by the sheet music blowing in the wind from the liner note illustrations.
These are additional drafts of the inside of the wallet, in chronological order.
Finally, I created a promotional poster that Akropolis signed and sent to contributors of the album, as well as an event poster for the opening that was posted throughout the University of Michigan School of Music, Theater & Dance. The posters are based on the album cover, with inverted colors. Both posters are 11" x 17".
This new solution to the packaging of bandages eliminates the typical hassle of opening a box, pulling out a bandage, and peeling off layer upon layer before accessing the bandage (often while the user bleeds out and risks infection). Heal Reel allows the user to pull out a new bandage like a roll of tape, tear it from the roll, peel it off, and apply it faster and with significantly less resulting garbage.
Each bandage is followed by a perforation on the roll, and teeth on the corner of the box allow the user to quickly and cleanly tear off a bandage with one hand. On the top of the box, half an inch of the roll is accessible but the next bandage is not, so the roll doesn’t get lost in the box and the bandage remains sterile. The top flap can be opened if necessary.
The back of each box contains directions, warnings, and highlights that the pad is medicated, nonstick, and extra absorbent. The Gotham typeface family is used throughout.
Heal Reel boxes are designed for easy access and attractive storage. Boxes stack neatly in a medicine cabinet so that the user doesn’t have to remove the box; simply pull and tear. An actual-size image of the bandage is on the top flap so that the user can see which product he’s reaching for without moving the box. The left side of the box contains the appropriate logos, product use, and active ingredient.
This photograph shows Heal Reel packages in the bandage aisle of an existing drug store. Heal Reel boxes clearly stand out from the rest of the bandages on the market, and the graphic of the reel on the front of the box allows shoppers to immediately notice what is inside and that its design differs greatly from typical bandages.
Stash is every cubicle dweller’s secret weapon to get the creative juices flowing. Designed to look like a nondescript padfolio on the outside, blending in among board reports and day planners, Stash stores a wealth of toys, games, and outlets for brainstorming on the inside. Although Stash is easy to personalize with an identity card inside, Stash owners should be prepared to share with jealous coworkers.
All zipped up, Stash is wrapped in a narrow sleeve which features the stash logo, the tagline “play at work,” and a paragraph about the contents of Stash. The back of the sleeve includes three thumbnail images of the contents, the logo of the padfolio company who produces Stash, and the barcode. A “see what’s inside” card is tucked into the front pocket of the padfolio and includes a comprehensive list and images of all of the items inside.
The concept of a toybox for the workplace was inspired by recent studies that indicate that both “playing” and manipulating objects with one’s hands can stimulate creativity and productivity. Each item in Stash was chosen for its fun factor, ability to relieve stress, and usability for creating something new. Toys include a pull-out tray with Play Doh, a Slinky, a popper, Bendeez and Tangles toys ...
... a deck of transparent cards and a set of markers with unexpected color names ...
... Wikki Stix and a ten-color pen ...
... and a sketchbook for doodling and recording the brilliant ideas resulting from playing with Stash.