PHARMA

PROLIA

OSTEOPOROSIS

PHARMA

QUVIVIQ

SLEEP SCIENCES

SPORTS

MAJOR
LEAGUE
SOCCER

ENTERTAINMENT/EVENTS

SPORTS/ENTERTAINMENT

NEW YORK
RED BULLS

ENTERTAINMENT/EVENTS

LIFESTYLE

AIR FRANCE

LIFESTYLE: LUXURY

LIFESTYLE

KEURIG

LIFESTYLE: CONSUMER

LIFESTYLE

JAGUAR, U.S.

LUXURY

I’m Ethan Gabriel Hunt — a critical-thinking, boundary-pushing creative who builds smart, inventive solutions for premier brands. My career has been shaped by leading and shaping 360° campaigns across agencies and organizations like DDBH, Havas Media, Major League Soccer, and Madison Square Garden, and by guiding multidisciplinary teams across national brands including Pfizer, Merck, Bristol Myers Squibb, AstraZeneca, Jaguar/Land Rover, DirecTV, Wells Fargo, MasterCard, and Verizon. I have little patience for the phrase *“we can’t,”* because the real question is always *“how can we?”* I never lead from behind — I lead beside — balancing creative chaos with rigorous brand discipline, and ensuring every web, digital, video, and print touchpoint aligns into a cohesive, dynamic, consistently branded whole. 

PLEASE USE THE MENU TO THE LEFT TO SELECT A BRAND,
OR CLICK THE ACCORDION “+” BELOW TO GET A SUMMARY

ONCOLOGY

KEYTRUDA

CASE STUDY

Role: ACD: Digital

Period: 2023

Platform: Storyboarding, Keytruda: Pharma

Lift: HCP Education

The TEAM
  • Matt Lear, VP, CD
  • Carmel Winter, ACD
The RUNDOWN

Keytruda is an immunotherapy treatment, not chemotherapy, that helps the body’s immune system fight cancer. It’s used to treat various cancers, including skin cancer, lung cancer, head and neck cancer, lymphoma, and certain types of breast cancer. 

 

I managed a wide slate of projects from initial concept through final delivery, guiding each one through the full creative lifecycle while coordinating seamlessly with both internal teams and third-party vendors. This meant balancing timelines, production needs, client expectations, and creative ambition — ensuring that every moving piece stayed aligned and that the final output reflected a unified strategic vision. Whether working with editorial partners, motion teams, or in-house brand stakeholders, I served as the central creative lead responsible for maintaining clarity, cohesion, and momentum throughout every phase of production.

 

A significant part of my role involved providing leadership and ongoing professional development to the video and motion staff. I mentored editors, animators, and junior motion designers, coaching them not only on craft but on narrative structure, pacing, visual logic, and how to build integrated stories that could live across multiple platforms. I worked to elevate their technical skill sets, strengthen their editorial instincts, and build confidence in their creative decision-making — ensuring the team operated with both precision and creative freedom.

 

I oversaw the consistency of brand identity and messaging across all channels, ensuring that every video asset — from long-form storytelling to short-format social cuts — aligned with the brand’s visual language, tone, and strategic priorities. In a world where brands communicate through motion now more than ever, maintaining a cohesive identity across formats was essential, and I made sure each deliverable upheld that standard.

 

As part of the creative process, I evaluated concepts, copy, and visual approaches at key milestones, giving clear direction and refinement before work advanced to account management or client review. By intervening at these early checkpoints, I ensured that the creative stayed sharp, strategically grounded, and aligned with the original intent — minimizing revisions downstream and protecting the integrity of the story.

 

Hands-on, I also contributed as an editor and motion designer, cutting video spots using Avid, Adobe Premiere, and Adobe After Effects. This hybrid capability allowed me to bridge high-level creative direction with practical production expertise, ensuring that the work was both conceptually strong and technically flawless. It also allowed me to speak the same language as the post-production team, fostering smoother collaboration and more innovative output.

THE CHARGE
  • Managed multiple projects from concept through to completion, working with both in-house resources and third-party vendors
  • Provided leadership and professional development to video staff
  • Ensured brand identity and message consistency across channels
  • Developed and evaluated creative concepts, copy and art, at pre-determined points and providing direction prior to review by account management
  • Cut video spots using AVID Technology, Adobe Premiere and Adobe After Effects
The WORK

POLIVY

CASE STUDY

Role: Creative Lead: Animation, HTML5 and Video, Senior Art Director

Period: 2022-2024

Platform: Print, Digital, Social

Lift: 360 Campaign

The TEAM
  • Mark Kelley, VP, CD
  • Derby Tabuteu, ACD
  • Dana Forker, Art Director
The RUNDOWN

Polivy is a prescription medication used to treat adults with diffuse large B-cell lymphoma (DLBCL), a blood cancer that affects white blood cells.

HIV/AIDS

CABENUVA

CASE STUDY

PHARMA

Cabenuva — Digital Build and Style Guide

 

Period: 2021-2022

Overview: Built digital presence with Havas Hudson/Canal via Arnold and Tonic.
Challenge: Translate dense medical information into clear UX/UI.
My Role: Creative Lead: Animation, HTML5 and Video. Migrated PSD ecosystems into Sketch and built digital assets.

Creative Approach: Emphasized clarity, modularity, and patient-centered design.

Execution: Delivered responsive modular systems across devices.
Impact: Improved collaboration and medical-legal review efficiency.
Reflection: Strengthened digital pharma expertise.

The TEAM
  • Travis Hibbis, VP, CD
  • Lisa Boosin, ACD
  • Anthony Lowe, ACD
  • Michelle Johnson, Studio Manager
  • Hayden Griffin, Copywriter
  • Kerry Goeller, Digital Production Artist
The RUNDOWN

Cabenuva, a co-packaged antiretroviral treatment designed specifically for people living with HIV, represents far more than just two vials containing cabotegravir and rilpivirine — it represents a breakthrough in how we talk about adherence, empowerment, and long-term viral suppression. Being part of the team that helped bring its digital presence to life was both a technical undertaking and a deeply personal one for me as a queer creative who has watched the evolution of HIV treatment reshape our community’s history.


None of the work would have been possible without strong leadership and the highly disciplined studio production team steering the ship. As a digital artist, I had the privilege of collaborating closely with incredibly skilled partners across Havas and its affiliated agencies, Arnold and Tonic. These teams routinely navigate the complex world of pharmaceutical regulations and accelerated timelines, and together we were able to align strategy, science, and storytelling into a seamless digital ecosystem.


By the time Cabenuva reached the point where it could begin final design and development for its online platform, the brand had cleared a significant number of regulatory hurdles. The story it needed to tell was both medically precise and emotionally grounded — speaking to HIV-positive patients looking for lower viral loads, greater treatment flexibility, and the promise of a long-acting regimen that could materially improve quality of life. Translating those truths into a digital experience required nuance, restraint, and clarity.


The build began as a series of extensive Photoshop files — dense with layers, nested modules, and multiple branching pathways within the broader site map. My task was to migrate this ecosystem into Sketch to create lightweight, vector-based assets that would not only accelerate development but also allow for real-time collaboration with UX, copy, brand, and medical-legal partners. Streamlining a site of this complexity is its own art form; every component had to be optimized to support both desktop and mobile-responsive layouts while remaining compliant with FDA guidance, accessibility standards, and the needs of multiple stakeholders.


Because the project is still protected under NDA, I’m not able to share the working files or live build. But the process itself — navigating regulatory guardrails, structuring clear user journeys, and ensuring the visual language honored both the science and the lived experiences of the HIV community — was one of the more meaningful digital pharma engagements of my career. It reaffirmed my belief that design is at its strongest when it bridges humanity and innovation, and when the work has the potential to support real people in real ways.

THE CHARGE
  • Managed multiple projects from concept through to completion, working with both in-house resources and third-party vendors
  • Provided leadership and professional development to department staff
  • Ensured brand identity and message consistency across channels
  • Developed and evaluated creative concepts, copy and art, at pre-determined points and providing direction prior to review by account management
  • Cut video spots using AVID Technology, Adobe Premiere and Adobe After Effects
The WORK

DELSTRIGO

CASE STUDY

PHARMA

Delstrigo — Social Media Animation | Pharma

 

Period: 2021-2022 

Overview: Created stop-motion and scrolling ISI animations.
Challenge: Meet FDA compliance requirements in motion systems.
My Role: Senior Art Director: Animation and ISI integration.
Creative Approach: Blended stop-motion character with technical accuracy.
Execution: Built three compliant social motion assets.
Impact: Delivered fully approved animations meeting all standards.
Reflection: A precise fusion of creativity and regulation.

The TEAM
  • Travis Hibbis, VP, CD
  • Michelle Johnson, Studio Manager
  • Hayden Griffin, Copywriter
  • Kerry Goeller, Digital Production Artist
The RUNDOWN

Taken orally, Delstrigo is a fixed-dose combination antiretroviral medication for the treatment of HIV/AIDS, containing doravirine, lamivudine, and tenofovir disoproxil.

 

Delstrigo, a new and inspiring treatment in the ongoing fight against HIV, entered my studio through Havas’ video arm, Studio 6. The team there had already completed the initial cutdowns for broadcast and digital placement, and because of the strong collaborative chemistry between the client, the agency, and our internal creative teams, Merck approached us with a highly ambitious ask. They wanted to mirror — and ideally match — the industry-shaking scrolling ISI execution Bayer had debuted at a major pharma conference the year prior, but this time across both video assets and HTML5.

 

I was tapped by my longtime collaborator and friend, Emily Wilson from Studio 6, because she and I had a track record of building the impossible together — especially in high-stakes, medically regulated environments. My studio took ownership of developing the social media suite that would extend the stop-motion, first-generation visual language already in-market for Delstrigo. The goal was not just to replicate the aesthetic, but to elevate it while meeting an entirely new regulatory and technical challenge.

 

It was a genuinely joyful assignment — the kind that allows you to combine artistry with precision. I established the full animation architecture, including size ratios, movement cadence, pacing curves, and transition logic for all video-based social assets. To recreate Bayer’s scrolling ISI behavior, I sourced the exact FDA-approved scroll speed, vertical movement parameters, and screen-percentage visibility requirements directly from the precedent-setting execution. I then reverse-engineered that behavior to ensure our assets would match it flawlessly — maintaining compliance while delivering a polished, premium creative experience.

 

Across the build, we produced three fully compliant assets that combined:

  • stop-motion footage,
  • campaign logos and graphic elements,
  • and the full ISI copy set in FDA-compliant size, color, contrast, and legibility standards.
 

Every aspect — animation timing, color values, textual clarity, and scroll behavior — was crafted to meet stringent FDA criteria, including thoughtful accommodations for visually impaired audiences. The final work honored the original campaign while proving that regulated pharma content can still feel inventive, contemporary, and highly intentional.

THE CHARGE
  • Developed and reviewed creative briefs that provided strategic insight(s) and creative inspiration
  • Curated a culture of trust with peers, clients and all stakeholders
  • Set high-impact objectives and went above and beyond to exceed performance expectations
  • Scheduled and directed on-site, in-city and remote/travel video and photo shoots for both product and video campaign
  • Cut video spots using AVID Technology, Adobe Premiere and Adobe After Effects
The WORK

CARDIOVASCULAR

VASCEPA

CASE STUDY

Role: ACD, Pharma, Website

Period: 2021-2022

Platform: Print, Digital, Video

Lift: Part of a 360 Campaign

The TEAM
  • Travis Hibbis, VP, CD
  • Lisa Boosin, ACD
  • Anthony Lowe, ACD
  • Michelle Johnson, Studio Manager
  • Hayden Griffin, Copywriter
  • Kerry Goeller, Digital Production Artist
The RUNDOWN

VASCEPA is the first and only FDA-approved medication to lower CV risk in addition to other medications, such as statins, in patients with high triglycerides (≥150 mg/dL) and heart disease or diabetes with other CV risk factors. The exact science of how VASCEPA works in the body is not fully understood, but years of clinical testing have led to proven results.

I managed a diverse group of stakeholders from the earliest moments of concept development through final delivery, ensuring that every phase of the project remained aligned, informed, and strategically grounded. This required coordinating seamlessly across in-house teams, cross-disciplinary partners, and external vendors — balancing timelines, budgets, creative ambition, and regulatory demands without losing sight of the core idea. I served as the connective tissue between strategy, creative, production, and client expectations, keeping momentum steady and communication transparent throughout the entire lifecycle of the work.

 

As a senior creative leader, I provided hands-on mentorship and professional development to the creative staff, helping designers, art directors, and writers refine their instincts, strengthen their technical skills, and elevate their conceptual thinking. I believe that leadership is as much about craft as it is about culture, so I invested time in building a supportive, open creative environment where junior talent felt empowered to grow and senior talent felt trusted to lead. Whether offering feedback during working sessions, demonstrating new workflows, or guiding team members through complex briefs, I worked to ensure that everyone felt equipped and inspired to deliver their best.

 

I maintained rigorous oversight of brand identity, functionality, and messaging consistency across all channels — digital, print, experiential, and integrated touchpoints. This meant policing the details: typography behavior, motion logic, color systems, voice, accessibility considerations, and the intricate grid structures that define a modern brand ecosystem. In highly regulated or multi-market environments, consistency is not just aesthetic; it’s strategic. I made sure every asset, regardless of platform, reinforced the brand’s promise with accuracy and clarity.

 

Throughout the program, I also served as a critical checkpoint for quality and cohesion by evaluating digital creative concepts at key milestones. I assessed copy, interaction design, UI systems, and visual language early and often, providing clear direction and necessary course-corrections before work advanced to account management or client presentation stages. These evaluations ensured a unified creative vision, reduced downstream revisions, and protected the integrity of the idea through the inevitable pressure points of production and regulatory review.

 

Together, these contributions helped establish a smooth operational rhythm, a confident creative culture, and a final product that was both strategically sharp and creatively resonant.

THE CHARGE
  • Managed shareholders from concept through to completion, working with both in-house resources and external vendors
  • Provided leadership and professional development to creative staff
  • Ensured brand identity, functionality and message consistency across channels
  • Evaluated digital creative concepts, copy and art, at pre-determined points and providing direction prior to review by account management
The WORK

DIABETES

SOLIQUA

CASE STUDY

Role: Creative Lead: Animation, Senior Art Director

Period: 2021-2022

Platform: HTML5 Banner Animation, Social, Video

Lift: Patient Education

The TEAM
  • Travis Hibbis, VP, CD
  • Lisa Boosin, ACD
  • Anthony Lowe, ACD
  • Michelle Johnson, Studio Manager
  • Hayden Griffin, Copywriter
  • Kerry Goeller, Digital Production Artist
The RUNDOWN

Soliqua is a long-acting modified form of medical insulin injected just under the skin, used in the management of type I and type II diabetes. Benefits generally begin an hour after use.

 

I proactively identified challenges and inefficiencies within the workflow and brought them forward with solutions-oriented clarity, helping the team collaborate more effectively and stay aligned through fast-paced, high-pressure environments. My approach centered on elevating communication and removing friction — ensuring that designers, writers, motion teams, producers, and account partners could operate with greater cohesion and confidence.

 

I communicated creative direction and strategic ideas with clarity, precision, and assurance, translating complex thinking into language that was accessible for both creative and non-creative stakeholders. Whether presenting to internal teams or external partners, I delivered direction in a way that was articulate, grounded, and actionable — enabling everyone involved to understand not just what we were doing, but why it mattered in the broader campaign architecture.

 

Part of my leadership involved constructively challenging the status quo. I encouraged teams to step outside conventional patterns, to rethink entrenched assumptions, and to consider new creative and strategic opportunities. I wasn’t afraid to take calculated risks or challenge perspectives — internally or externally — when I believed a stronger, more impactful outcome was possible. This ability to push beyond the expected helped drive more innovative thinking and ultimately elevated the final work.

 

In directing the creative build, I provided comprehensive design assets and infrastructure for subordinate creatives throughout each stage of the campaign. This included developing digital color systems, templated setups for motion ratios and format variations, curated imagery libraries, and clearly defined photographic treatments and adjustments. By establishing these foundational tools, I enabled the team to execute with consistency, efficiency, and a shared visual language across all deliverables.

 

I also contributed hands-on craft through motion and animation, building assets in Adobe Illustrator and animating them in Adobe After Effects. This hybrid capability — strategic direction paired with technical execution — allowed me to bridge conceptual thinking with production reality. It ensured that the work not only met the conceptual vision but also adhered to the practical demands of motion behavior, timing, transitions, and cross-platform deployment.

 

Together, these contributions strengthened collaboration, elevated creative quality, and ensured that each campaign delivered a cohesive, high-impact visual and strategic presence.

THE CHARGE
  • Proactively raised issues to improve effective team working and collaboration
  • Communicated ideas and direction confidently in a clear, concise and articulate manner
  • Capable of constructively challenging the status-quo and took risks to challenge internal and external perspectives
  • Lead design direction by providing subordinate creatives key assets for each leg of the campaign build (digital color breakdowns, templated breakdowns for motion/ratio/sizes, imagery selection and definition of photographic color treatment and adjustments)
  • Animated assets using Adobe Illustrator and  Adobe After Effects
The WORK

TOUJEO

CASE STUDY

Role: ACD: Digital

Period: 2021-2022

Platform: HTML5 Banner Animation, Social, Video

Lift: Patient Education

The TEAM
  • Travis Hibbis, VP, CD
  • Lisa Boosin, ACD
  • Anthony Lowe, ACD
  • Michelle Johnson, Studio Manager
  • Hayden Griffin, Copywriter
  • Kerry Goeller, Digital Production Artist
The RUNDOWN

The simplest ask: to create a rasher of banner ads. The complication: To conscientiously incorporate BNY-mandated DEI initiatives based upon social equity initiatives. Across all of the digital assets, round one simply depicting diversity ethnically, and my pressing for not only ethnic, but gender and orientation representation as well as ethnically, the client was not only pleased to see my execution across the static banners in the initial batch, but I had been expanding beyond the brief behind the scenes.


By the next enthusiastic media buy from BNY, I had not only pulled their design standard documentation, but I was animating in Adobe Animate behind the scenes. Animating in a manner that was pixel-identical to their internal regulations and matched their online, social and environmental brand. Emphasis was put on the animation for brand recognition as primary, then the gentle fade into the diversity shot.

 

I managed the full creative workload across my assigned book of business, ensuring that projects were staffed intelligently, timelines were realistic, and the team could deliver high-quality work without sacrificing strategic clarity or creative ambition. By maintaining a clear understanding of each initiative’s priorities and complexities, I was able to balance resources, anticipate challenges, and keep the workflow moving smoothly — ultimately maximizing both productivity and creative excellence.

 

I built strong relationships quickly, engaging with peers, cross-functional partners, and clients in a way that felt personal, grounded, and collaborative. My approach combined approachability with seasoned leadership, allowing me to establish trust early and create a rapport that made creative conversations more open, efficient, and productive.

 

Collaboration was central to my process. I worked closely with stakeholders across disciplines — strategy, UX, account, production, medical/legal (when applicable), and client-side teams — creating an environment that valued diverse perspectives and encouraged inclusive participation. By actively listening and bringing multiple viewpoints into the conversation, I helped craft solutions that were stronger, more empathetic, and more aligned with both brand and audience needs.

 

 

My work spanned both traditional and interactive design, allowing me to integrate campaign systems across web, mobile, UX/UI, animation, social content, and rich media experiences. I navigated seamlessly between conceptual design, digital architecture, and motion thinking, ensuring that every touchpoint — whether static or dynamic — felt cohesive and consistent within the larger brand ecosystem. This cross-platform fluency allowed me to build modern, scalable creative systems that supported both immediate campaign needs and long-term brand growth.

THE CHARGE
  • Managed the workload for assigned book of business to maximize the productivity and quality of work from the creative staff
  • Built relationships quickly with others and engaged personally with peers and clients
  • Collaborated with stakeholders and embraced an inclusive-based environment
  • Implemented traditional and interactive design, including web, mobile, UX, animation, social and rich media experiences
The WORK

GASTROINTESTINAL

ETRA AIBD MICROSITE

CASE STUDY

Role: ACD, Pharma, Microsite

Period: 2022

Platform: Digital

Lift: Pharma HCP Congress Microsite Development

The TEAM
  • Mark Kelley, VP, CD
  • Derby Tabuteu, ACD
  • Dana Forker, Art Director
The RUNDOWN

AIBD is a must-attend event for gastroenterologists, nurses, physicians, surgeons, and all healthcare professionals dedicated to advancing the field of IBD. With a focus on providing actionable insights and the latest advancements, AIBD equips clinicians to stay ahead in the ever-changing world of IBD management.

The WORK

(Shown as an Adobe XD shared link, which does not permit sharing multiple working-file artboards online.)

OSTEOPOROSIS

EVENITY

CASE STUDY

Role: ACD: Digital

Period: 2020

Platform: Web, Evenity: Pharma

Lift: HCP Website

The TEAM
  • Aileen Boyce, VP, CD
  • Anthony Lowe, ACD
  • Michelle Johnson, Studio Manager
  • Kerry Goeller, Digital Production Artist
The RUNDOWN

Evenity (romosozumab-aqqg) is a prescription medication used to treat osteoporosis in postmenopausal women who are at high risk of fracture. It works by building new bone and reducing the risk of spine fractures. Evenity is administered by injection for a 12-month period.

The WORK

PROLIA

CASE STUDY

PHARMA

Prolia — HCP Digital Experience

 

Period: 2021-2022 

Overview: Designed digital experience for HCP education.
Challenge: Communicate complex medical data clearly.
My Role: ACD: Website and Animation. Led UX and design strategy.
Creative Approach: Built modular layouts supporting varied information depth.
Execution: Developed multi-channel HCP materials.
Impact: Increased clarity and accessibility of clinical information.
Reflection: Successfully merged scientific rigor with clean design.

The TEAM
  • Travis Hibbis, VP, CD
  • Lisa Boosin, ACD
  • Anthony Lowe, ACD
  • Michelle Johnson, Studio Manager
  • Hayden Griffin, Copywriter
  • Kerry Goeller, Digital Production Artist
The RUNDOWN

Prolia, a treatment designed for women with postmenopausal osteoporosis who face a high risk of fracture, has long been recognized as a clinically validated option for strengthening and protecting bone density. Its efficacy is supported by a rigorous three-year clinical study involving more than 7,700 women between the ages of 60 and 90 — one of the largest and most comprehensive trials in its category. Roughly half of the participants received Prolia injections, while the remaining group was administered a placebo, allowing researchers to precisely isolate treatment outcomes and long-term safety indicators. The results demonstrated Prolia’s ability to reduce fracture risk, increase bone strength, and help safeguard patients from complications associated with osteoporosis and hypercalcemia, reinforcing its place as a trusted therapeutic option within the postmenopausal community.

 

My role in the creative development of Prolia-related initiatives required navigating the deep intersection of science, storytelling, and brand integrity. I managed stakeholders from initial concept through full execution, aligning scientific rigor with consumer clarity — a balance essential in pharmaceutical communications, where every word, ratio, and visual gesture must meet strict regulatory standards while still connecting meaningfully with patients and caregivers. This meant working fluidly across internal teams, medical-legal reviewers, cross-disciplinary creatives, and external vendors to ensure accuracy, empathy, and cohesion throughout the entire campaign.

 

 

As a senior creative leader, I provided hands-on direction and professional development to the creative staff, shaping not only the work but the people behind it. I mentored designers, writers, and digital artists through complex regulatory constraints, helping them refine their strategic instincts, strengthen their craft, and elevate their conceptual thinking. Under my leadership, the work maintained a consistent brand identity across every channel — print, digital, CRM, social, HCP messaging, and DTC initiatives — ensuring that no matter where a patient encountered Prolia, the experience felt unified, trustworthy, and aligned with the brand’s mission.

 

I also played a critical role in the evaluation of digital creative concepts, reviewing copy and art direction at key checkpoints prior to internal account reviews. This allowed me to course-correct early, sharpen the storytelling, and advocate for patient-centered clarity — all while maintaining compliance with FDA guidance and industry best practices. In pharma, nuance is everything: What we include, what we simplify, what we emphasize, and what we withhold directly shapes how patients understand their treatment options. I approached each review with that responsibility in mind.

 

 

Together, these efforts ensured that the Prolia brand experience remained consistent, strategic, and anchored in both scientific credibility and human impact — ultimately helping to empower women navigating the challenges of osteoporosis with information they could trust.

THE CHARGE
  • Managed shareholders from concept through to completion, working with both in-house resources and external vendors
  • Provided leadership and professional development to creative staff
  • Ensured brand identity, functionality and message consistency across channels
  • Evaluated digital creative concepts, copy and art, at pre-determined points and providing direction prior to review by account management
The WORK

ANAEMIA

REBLOZYL

CASE STUDY

Role: ACD, Pharma, Website

Period: 2022-2024

Platform: Digital, Print, Video

Lift: 360 Campaign

The TEAM
  • Mark Kelley, VP, CD
  • Derby Tabuteu, ACD
  • Dana Forker, Art Director
The RUNDOWN

Reblozyl, is a medication used for the treatment of anemia in beta thalassemia and myelodysplastic syndromes. The US Food and Drug Administration considers it to be a first-in-class medication. 

THE CHARGE

I provided holistic creative leadership throughout the campaign lifecycle, guiding the overarching design vision while ensuring every member of the team was equipped with what they needed to succeed. From the earliest conceptual phases to final delivery, I developed and distributed the full suite of creative assets — detailed color systems, ratio-driven templates across a wide spectrum of formats, curated imagery libraries, and precise photographic treatments that established a unified visual tone. These foundational tools enabled junior and senior creatives alike to craft work that remained consistent, elevated, and on-brand across both print and digital environments.

 

Beyond the creative direction itself, I played a crucial role in resource allocation and operational planning, calibrating workload distribution based on project complexity, timing, and team strengths. I worked closely with producers and account partners to ensure that deadlines were realistic, creative expectations were clear, and that every deliverable aligned with the campaign’s strategic milestones. This balance of structure and flexibility allowed us to maintain exceptional quality while staying ahead of demanding timelines — something especially important in fast-moving brand, experiential, and cross-platform environments.

 

  • Guided Creative Vision and Managed Campaign Assets: Led the design direction by equipping subordinate creatives with essential assets for every stage of the campaign development, both in print and digital formats. This included detailed color breakdowns, templated guidelines for various ratios and sizes, curated imagery selections, and well-defined photographic color treatments and adjustments to ensure visual consistency across all platforms.

  • Optimized Resource Allocation for Project Success: Ensured that resources were efficiently allocated based on the specific needs and timelines of each project. This involved careful planning and coordination to maximize team productivity and meet project milestones without compromising quality.

  • Approached all situations and interactions with honesty, integrity, and humility: This fostered a collaborative and respectful working environment, encouraging open communication and mutual respect among team members and clients.

  • Addressed Client Marketing Challenges with Strategic Creativity: Demonstrated a thorough understanding of clients’ marketing challenges and was highly responsive to their strategic needs. By proposing innovative and tailored creative solutions, consistently exceeded client expectations and contributed to achieving their marketing objectives.

The WORK

(Shown as PDF. Original files acquired from agency prior were in Adobe XD format, which does not permit sharing multiple working-file artboards online.)

SLEEP SCIENCE

QUVIVIQ

CASE STUDY

PHARMA

Quviviq — Pharma Congress Sizzle Video

 

Period: 2023

Overview: Led hybrid visual design and motion teams.
Challenge: Unify creators at different experience levels and disciplines.
My Role: ACD, Video, Graphics and Storyboarding. Provided both artistic direction and technical mentoring.

Creative Approach: Established clear visual systems and feedback loops.
Execution: Oversaw video editing, motion design, and cross-channel assets.
Impact: Improved cohesion and quality across static and motion deliverables.
Reflection: Proved that clarity and support are central to effective leadership.

The TEAM
  • Greg Polin, Director of Video Production
  • Lori Eisenberg, SVP, Client Services
The RUNDOWN

Quviviq is a prescription treatment for adults who have trouble falling asleep or staying asleep (insomnia). In clinical trials, Quviviq helped adults with insomnia get more sleep with improvements measured at months 1 and 3.

As quoted from Lori Eisenberg herself:

“After months of planning, we just held the first live speaker training for QUVIVIQ this past weekend. It was literally an all hands on deck meeting with amazing contributions from Client Service, Medical, Creative, Production, Editorial and Finance. Our team was in charge of EVERYTHING from the core deck and break-out room content to inviting/securing speakers, travel, vendor coordination and every detail imaginable including selecting the chairs for the on-stage faculty. Everyone had to stretch in their role, get their hands dirty and pivot to allow for unanticipated circumstances. It was an amazing team experience and I was proud to witness it.

 

By the numbers:

  • 154 Speakers
  • 9 Faculty
  • 24 Idorsia Clients

 

And the entire HSC/HCG Dream Team village…were all smiles praising HSC for the content, creative, materials, logistics and overall event coordination and production. [It] was incredibly well-executed—never a moment of panic or anxiety regarding what should be happening! The relationships we have built with the clients and KOLs is remarkable. I think [the client’s] favorite part was the team dinner where he invited everyone to share fun facts and personal anecdotes with the team. [The client] pulled me aside and said how happy he was with the entire team [and] reiterated that he always thinks of us as one cohesive team.

In terms of speaker feedback, quotes included: “This was definitely one of the best speaker trainings I have ever attended”; “excellent program”; “outstanding program”; “well thought out…”

THE CHARGE
  • Managed multiple projects from concept through to completion, working with both in-house resources and third-party vendors
  • Provided leadership and professional development to department staff
  • Ensured brand identity and message consistency across channels
  • Developed and evaluated creative concepts, copy and art, at pre-determined points and providing direction prior to review by account management
  • Cut video spots using AVID Technology, Adobe Premiere and Adobe After Effects
The WORK

HEALTHCARE
& HEALTH SCIENCES

ASTRAZENECA
PRECISION MEDICINE

CASE STUDY

PHARMA

Astrazenica — Precision Medicine HCP Educational Website

 

Period: 2021-2022 

Overview: Transitioned creative teams from Adobe XD to Figma.
Challenge: Modernize workflows across teams without disrupting delivery.
My Role: ACD, Pharma, Website. Served as Figma design system educator and UX & UI co-architect.

Creative Approach: Implemented component-based design and shared libraries.
Execution: Built templates, systems, and led training sessions.
Impact: Accelerated collaboration and reduced revision cycles.
Reflection: A transformational upgrade for team process and output.

The TEAM
  • Mark Kelley, VP, CD
  • Amadeu Dimas, VP, CD
  • Jessica Blanchard, ACD, Digital
  • Dana Forker, SAD
  • Bella Wood, UX Designer
The RUNDOWN

“Precision medicine is an innovative approach for tailoring disease treatment and prevention. It makes it possible for doctors and researchers to more accurately predict which treatments are more likely to work for a patient, taking into account individual genetic and molecular make-up, environment, and lifestyle.

By unravelling the complex underlying biology of many diseases, and pioneering and applying advanced technologies, we are leading the way in the application of precision medicine. Our work, and our collaborations with partners across industry, biotech and academia, are driving for better treatments for patients as well as a more sustainable future for healthcare systems.”

 

I worked in close partnership with our Creative Directors and the client team to determine the most effective way to articulate complex, HCP-focused messaging within a scalable digital ecosystem. The challenge was significant: we needed to translate a dense volume of medical information into a site experience that could flex based on the user’s needs, clinical literacy, and navigation behaviors — all while maintaining clarity, compliance, and a sense of intuitive flow. This required not only strong conceptual thinking, but a deep understanding of user pathways, content hierarchy, and how clinicians absorb information in a digital environment.

 

From the earliest planning stages through final production, I managed key stakeholders and shepherded the work from concept to completion. This meant coordinating across cross-functional internal teams and external vendors to ensure alignment at every stage. I served as a central creative anchor throughout the process, making certain that timelines, deliverables, and expectations remained consistent and achievable. In pharma, the volume of oversight — medical, legal, regulatory, client, internal — can be immense, and maintaining cohesion through that complexity was a critical part of my leadership.

 

As part of my broader role, I provided ongoing leadership and professional development for the creative staff, guiding designers, writers, and digital artists in elevating their craft while simultaneously preparing them for evolving workflows and technologies. A significant portion of this involved actively training the team on Figma — from component building to collaborative workflows — and helping them transition smoothly from Adobe XD. Ensuring the team was empowered and capable of operating confidently in new platforms wasn’t just a workflow upgrade; it directly improved our efficiency, collaboration, and overall quality of output.

 

I maintained oversight of the brand identity, functional logic, and messaging consistency across all touchpoints. Whether evaluating UI components, refining content modules, or aligning visual behaviors across desktop and mobile experiences, I ensured that every element reinforced the brand’s strategic architecture and communicated with precision. Consistency is especially critical in HCP-facing materials, where even small deviations in tone or structure can create misunderstandings or dilute the brand’s credibility.

 

Throughout the project, I also conducted rigorous reviews of digital creative concepts, evaluating copy, UX thinking, and visual design at predetermined checkpoints before work moved to account management or client-facing stages. These evaluations provided space for early adjustments, refinements, and strategic tightening — ensuring that by the time work reached the client, it was not only polished, but grounded in insight, clarity, and purpose.

 

Overall, my contribution combined creative leadership, operational oversight, and a strong understanding of regulated content — resulting in a digital experience that delivered high-value information with precision, accessibility, and a cohesive brand voice.

THE CHARGE
  • Worked closely with our CDs and the client to evaluate the best approach to clearly define the messaging and how to convey a hefty amount of HCP-based information in a scalable site contingent on the user’s needs
  • Managed shareholders from concept through to completion, working with both in-house resources and external vendors
  • Provided leadership and professional development to creative staff whilst actively educating them in the functions and flow of Figma and transitioning from Adobe XD
  • Ensured brand identity, functionality and message consistency across channels
  • Evaluated digital creative concepts, copy and art, at pre-determined points and providing direction prior to review by account management
The WORK

NEW YORK PRESBYTERIAN

CASE STUDY

HEALTHCARE

NewYork-Presbyterian — Digital OOH Expansion

 

Period: 2022

Overview: Expanded a print-focused rebrand into a digital OOH ecosystem.
Challenge: Replace outdated PowerPoint loops with modern digital design.
My Role: ACD, Animation, Video. Led digital motion design and screen-based creative.

Creative Approach: Used clean hierarchy and patient-first messaging.
Execution: Built assets for LinkNYC, lobby screens, and internal environments.
Impact: Modernized the hospital’s visual communication touchpoints.
Reflection: A powerful opportunity to elevate institutional storytelling.

The TEAM
  • Travis Hibbis, VP, CD
  • Lisa Boosin, ACD
  • Michelle Johnson, Studio Manager
  • Hayden Griffin, Copywriter
The RUNDOWN

NewYork-Presbyterian Hospital — one of the most respected nonprofit academic medical centers in the country — serves as the primary teaching hospital for two Ivy League institutions: Weill Cornell Medicine at Cornell University and Columbia University Vagelos College of Physicians and Surgeons at Columbia University. As of 2022, it ranks as the seventh-best hospital in the United States and the second-best in the New York City metropolitan area, treating more than 310,000 emergency department patients annually and delivering roughly 15,000 babies each year. Its scale, reputation, and cultural impact make it one of the most influential healthcare institutions in the world.

When Havas was brought in to support the next chapter of NewYork-Presbyterian’s brand presence, strategy distilled the assignment into three core principles:


Refresh. Rebrand. Remind.

These three words encapsulated two months of deep collaboration between NYP and the agency — involving account leadership, strategists, PMs, and cross-disciplinary partners.


By the time I was brought in for my ramp-up, the print leg of the campaign was largely established. Another print design team had developed the full suite of materials — environmental wraps, large-format billboards, 3D laser-cut lettering, and the broader out-of-home print spectrum — all approved enthusiastically by the client. For most, this would be “the job.” But for me, this was exactly where the opportunity began.


I saw immediately that the campaign was missing a critical digital OOH bridge — the connective tissue that brings a modern brand refresh to life across screens and motion environments. Digital wherever digital can live: lobby displays, elevator screens, in-system monitors, app touchpoints, and of course, the ubiquitous LinkNYC kiosks that line the streets of Manhattan. These surfaces are the heartbeat of the NYC visual ecosystem, and NYP deserved an equally modern presence there.


The surprising truth?

NewYork-Presbyterian’s digital footprint at the time consisted almost exclusively of looped PowerPoint slides repurposed for screens. That was their entire digital OOH ecosystem — and they fully expected more of the same.


Not on my watch.


With Adobe After Effects, Acrobat, and Premiere as my toolkit — and with full creative trust from the client and internal teams — I developed an entirely new animated motion system that translated the print refresh into a living, breathing digital language. I created a series of animations that established a branded motion style befitting the scale of NYP: clean, bold, modern, and grounded in the strategic pillars of the refresh.


The work extended from digital signage to video, giving the brand consistency across every surface it touched — static or dynamic. And unlike the looping PowerPoint files that had defined NYP’s digital presence for years, these pieces introduced a true, cohesive motion identity that elevated the brand into the contemporary landscape it deserved.


What began as a print-forward campaign became a fully integrated execution — and I was proud to help deliver the digital dimension that completed the story.

THE CHARGE
  • Managed multiple project portions from concept through to completion, working with both in-house resources and third-party vendors
  • Ensured brand identity and message consistency across channels
  • Developed and evaluated creative concepts, copy and art, at pre-determined points and providing direction prior to review by account management
  • Cut spots and created deliverables using AVID Technology, Adobe Premiere and Adobe After Effects

SPORTS

DAZN, U.S.

CASE STUDY

SPORTS

DAZN — U.S. Fight Launch

 

Period: 2019

Overview: Designed key assets for DAZN’s Ruiz vs Joshua II U.S. debut.
Challenge: Help establish DAZN’s presence in the American fight market.
My Role: Art Director, Contract. Acted as poster artist, social designer, and motion creator.
Creative Approach: Developed kinetic, fighter-forward visuals and pacing.
Execution: Produced the main fight poster, boxer profiles, and a 3D logo loader.
Impact: Helped anchor DAZN’s early U.S. sports positioning.
Reflection: A high-energy intersection of boxing culture and digital design.

The RUNDOWN

DAZN — the world’s leading global sports streaming platform — has reshaped how fans consume live sports. Built by fans, for fans, the brand is committed to making world-class athletic competition accessible anytime, anywhere, on virtually any connected device. From smart TVs and gaming consoles to tablets, smartphones, and streaming boxes, DAZN has engineered an ecosystem that brings the stadium, the ring, and the pitch directly into viewers’ hands. It’s a brand driven by energy, immediacy, and the global language of sport — which made it an absolute thrill for me to collaborate with them during their early U.S. expansion.

 

When DAZN established their headquarters at One World Trade in New York City — a space buzzing with the modern, confident, almost cinematic “coolness” that only a sports-first brand can pull off — I was brought in to help create social content that would introduce them to the U.S. market with impact. The assignment centered around one of the most anticipated events of the year: the December 7, 2019 heavyweight bout, marking DAZN’s major push into American sports culture.

 

My task was to concept and design a suite of Instagram-first social assets leading up to the fight. This included the hero fight poster and a range of fan-targeted boxer profiles tailored to DAZN’s unique visual system — bold, fast, modern, and unapologetically geared toward fight culture enthusiasts. Creating for Instagram in the context of sports is incredibly dynamic; every asset needs to feel like a moment, a pulse, an adrenaline spike. And I loved every second of it.

 

The fight itself — Andy Ruiz Jr. vs. Anthony Joshua II — wasn’t just any match; it was a heavyweight rematch with global attention. Ruiz had shocked the world by taking Joshua’s titles earlier in the year, and the rematch represented a seismic moment in modern boxing. I knew the creative needed to reflect that scale, capturing the urgency, rivalry, tension, and spectacle of the event.

 

During development, I noticed a critical gap in DAZN’s motion and branding toolkit for their U.S. fight launch: they didn’t have a transitional loading or holding animation that matched the brand’s elevated digital presence. Rather than treat it as a missed piece, I saw it as an opportunity to strengthen their ecosystem. I concepted and built a 3D Rubik-style animation of the DAZN logo, designed to be used as a loader, screensaver, phone takeover, branded transition, or interstitial element. It became a flexible signature asset that could bridge static and motion design — something that elevated the brand’s presence in ways they didn’t initially expect.

 

The final suite — from the fight poster to the fan-centric profile graphics to the animated 3D loader — helped introduce DAZN to the U.S. market in a way that felt premium, global, and unmistakably sports-driven. It combined everything I love about working in sports and entertainment: the immediacy, the passion of the fan base, the storytelling around athletes, and the electric thrill of designing for moments that millions of people anticipate.

MAJOR LEAGUE SOCCER

CASE STUDY

SPORTS

Major League Soccer — OOH, Lead Digital/Print

 

Period: 2017-2019

Overview: Unified MLS digital and print brand systems around the Our Soccer campaign.
Challenge: Resolve fragmentation across departments and asset types across 360 Evergreen Sports Campaigns, Environmental and League Awareness
My Role: Senior Digital Art Director: Animation, HTML5 and Video. Served as visual designer and motion creator within league campaigns.

Creative Approach: Used strong editorial grids and motion structure to unify outputs.
Execution: Produced stadium boards, city takeovers, and social content.
Impact: Elevated MLS brand consistency and fan-facing experiences.
Reflection: League-defining campaigns that showcased my strengths in sports branding.

The TEAM
  • Don Garber, Commissioner, Major League Soccer
  • Sabrina Heise, Director, Fan Acquisition & Engagement
  • Rudy Calderon, CD, Video
  • Steve Mandelbaum, AD
  • Denise Vargas, Senior Motion Designer
  • Joey Burden, Manager, Digital Media & Assets
  • Alex Payne, Senior Designer
  • Shin Ikeda, Ad Operations
  • Kate Zuparko, Digital Marketing Director
  • Tanya Downey, Manager, Partnership Marketing
  • John Smith, Senior Producer, Content
The RUNDOWN

Major League Soccer — headquartered in Midtown Manhattan — represents the top tier of professional men’s soccer in the United States. Sanctioned by the U.S. Soccer Federation, MLS has grown into a 29-club league (26 U.S. teams and 3 Canadian teams as of 2023) and has become a defining force in the North American sports landscape. Working within this organization during the 2017–2019 seasons was one of those rare creative experiences where my passion for sports, design, and storytelling aligned perfectly.

As a digital and print visual designer, my overarching responsibility was to ensure that every visual touchpoint across the league spoke the same language — stylistically, conceptually, and emotionally. MLS is visually massive: photography from one department, video from another, social content produced by its own internal team, marketing collateral scattered across multiple verticals, and dozens of regional and national partners all contributing assets. My goal was simple but ambitious:


Make the entire ecosystem “talk” to each other.
Make it balanced.
Make it cohesive.
Make it MLS.

 

I helped unify the brand through rhythm, tone, pacing, and visual consistency — ensuring that no matter where a fan experienced MLS, from the stadium to their phone to a takeover at an airport, they were stepping into one continuous brand world. That was especially important during the ramp-up to the “Our Soccer / Nuestro Fútbol” campaign, which defined the league’s identity for the 2018–2019 seasons. This campaign was bold, inclusive, fan-forward, and emotionally charged — and because it involved contributions from so many departments, the work required an obsessive attention to detail and a deep instinct for brand behavior.

Often, a single assignment meant stitching together assets with completely different origins:

 

 

  • a static print ad from one team,
  • b-roll footage from another,
  • social graphics still in development,
  • stats and messaging from yet another vertical.
 

It fell to me to take all of that raw material and translate it into polished, animated, market-ready digital assets that aligned with the league’s brand standards and campaign narrative. I worked closely with MLS marketing leadership to ensure everything felt intentional and elevated — whether it was a citywide takeover or a single animated social tile.

 

One of the unique aspects of MLS creative production is the sheer range of output. Most designers at the league relied on two or three Adobe applications per day. In my role, I operated across the entire spectrum — Illustrator, Photoshop, InDesign, Premiere, and especially After Effects, where much of the dynamic campaign work came to life. I handled everything from LED in-stadium perimeter boards to animated screens for hosting-city takeovers, environmental graphics, stadium dressing, paid-media displays in airports, subway dominations, and large-scale experiential visual elements.

No two days were the same — and that’s what fueled me.


In sports and entertainment, the energy shifts fast, the stakes are high, and the audience is fiercely passionate. You are designing not just for a brand, but for a living, breathing community. Working with MLS sharpened my ability to work quickly, think strategically, collaborate across departments, and produce creative that could hold its own on some of the biggest stages in professional sports.

It was immersive, exhilarating, and deeply fulfilling — the kind of creative environment where every asset, no matter how small, contributes to the pulse of the game.

THE CHARGE
  • Assisted the Creative Director to improve the Creative group’s technical and creative performance
  • Promoted a culture of creative innovation, elevation and accountability, ensuring that creative deliverables meet both our league-wide expectations and our own standards of excellence
  • Extended client relationships and explored new ways to deliver value
  • Designed comps, storyboards, initial graphic concepts, and final deliverables
  • Developed and evaluated creative concepts, copy and art, at pre-determined points and providing direction prior to review by account management
THE THINKING AND PROCESS

Take a look at the evolution of design thinking to which I contributed directly within the league. Over time, I was able to give digital a greater and greater footprint to specialize and standardize league assets.

 

NEW YORK RANGERS

CASE STUDY

SPORTS

New York Rangers — Digital and Print Development

 

Period: 2013-2016

Overview: Produced 450–500 page media and playoff guides for the Rangers.
Challenge: Continuously adapt to trades, injuries, and evolving narratives.
My Role: Acted as art director and long-form layout specialist.
Creative Approach: Honored team legacy while reflecting real-time momentum.
Execution: Built seasonal and playoff editorial systems and layouts.
Impact: Reinforced MSG’s reputation for high-quality sports communications.
Reflection: One of the most rewarding chapters of my sports and entertainment work.

The TEAM
  • Anthony Zucconi, Manager, Marketing
  • Dino Tichenelli, Public Relations Coodinator
  • Tarek Awad, Design Director
  • Michelle Cruz, Senior Art Director
The RUNDOWN

The New York Rangers are one of the most iconic professional ice hockey teams in the world — a franchise synonymous with New York City grit, legacy, and the electric pulse of the National Hockey League’s Eastern Conference. As part of The Madison Square Garden Company, the Rangers are woven into the cultural DNA of the city, and stepping into the role of Art Director for Madison Square Garden meant stepping directly into the beating heart of live sports and entertainment.

 

When I joined MSG, I became responsible for driving the creative direction of all Rangers advertising and brand communications across every major touchpoint. My work spanned television spots, digital campaigns, branded content, environmental graphics, and large-scale placements — but my true specialty quickly became the high-stakes print and digital media guides, particularly those produced during the pressure cooker of playoff season. I never imagined I would become a hockey fan, but it happened almost immediately — thanks to the contagious passion of collaborators like Dino Ticinelli, Tarek Awad, and Michelle Cruz, whose love for the sport pulled me in without hesitation.

 

And once I was in, I was all in.

 

I poured every ounce of that newfound enthusiasm into my craft, often working from literal sun-up to sundown during the playoffs to ensure that every asset — down to the smallest caption line or player stat — carried the intensity and precision the Rangers deserved. Hockey isn’t just fast on the ice; it’s fast behind the scenes. Trades, injuries, press narratives, stats, mid-series developments — all of it can shift overnight. The creative environment had to be just as agile. I became deeply attuned to league-wide and team-specific shifts, constantly updating layouts, rosters, bios, and editorial content in real time.

 

From there, I partnered closely with the Rangers Public Affairs Department to curate and document the evolving history of one of the most storied NHL franchises. Each season required the creation of a 450–500 page media guide — an immense undertaking that demanded not only technical mastery of InDesign pagination, document structuring, and long-form editorial layout, but also a deep reverence for the team’s legacy. These guides aren’t simply reference books; they become historical records. They preserve the storylines, achievements, and defining moments of the club year after year.

 

Managing that level of content meant staying in lockstep with PR, stats teams, social, photography, editorial contributors, and MSG leadership. Every page had to reflect accuracy, brand consistency, and storytelling clarity — all while maintaining a visual language that felt unmistakably Rangers: bold, fierce, fast, and deeply New York.

Working on Rangers creative at MSG deepened my love for the sports and entertainment world in a way nothing else had before. The adrenaline, the stakes, the immediacy, the fandom, the sheer emotional weight of a playoff run — all of it infused the work with a level of purpose and intensity that still fuels me today. Being responsible for shaping the visual identity of such a historic NHL organization was a privilege, a responsibility, and one of the true highlights of my sports-focused creative career.

THE CHARGE
  • Mentored and trained team members, wrote performance reviews, and allocated work
  • Championed curiosity and open mindset towards new ways of doing things
  • Ensured that creative presentations to the client met the highest professional standards
  • Brainstormed and developed campaigns while working with clients on multiple projects at once

NEW YORK RED BULLS

CASE STUDY

SPORTS

New York Red Bulls — Digital and Print Development

 

Period: 2016

Overview: Art-directed a 350+ page media guide for the New York Red Bulls.
Challenge: Maintain accuracy and consistency amidst frequent PR updates.
My Role: Art Director. Functioned as editorial system architect and lead designer.
Creative Approach: Blended sports energy with tightly structured editorial layouts.
Execution: Developed player bios, stats pages, and team history sections.
Impact: Delivered a polished, reliable resource for media and partners.
Reflection: A standout project that deepened my love for sports design.

The TEAM
  • Michelle Cruz, SAD
  • Joe Stetson, Chief Commercial Officer
The RUNDOWN

The New York Red Bulls — one of the flagship professional soccer clubs in the New York metropolitan area — have always been more than just a sports team. They’re a community fixture, a cultural engine, and a brand deeply committed to giving back to the region they represent. For someone like me, who genuinely thrives in the energy of sports and entertainment, collaborating with them was the kind of assignment that hits both the creative and emotional parts of my brain.

 

During the 2016–2017 seasons, I stepped in as Assistant Art Director, joining forces once again with Michelle Cruz, a trusted collaborator from my Madison Square Garden days. Michelle has always had an impeccable eye for creative talent and a strong instinct for who can handle the intensity and pace of sports-driven production. When she pulled me into the Red Bulls’ orbit, it felt like a natural extension of the collaborative rhythm we’d built years earlier — only this time with the full dynamism of Major League Soccer behind it.

 

My core assignment was ambitious: create a 350+ page media guide spanning both print and digital channels — a massive undertaking involving player bios, stats, photography, editorial layouts, brand behaviors, and dozens upon dozens of cross-functional stakeholders. It required the discipline of a seasoned production artist, the vision of a creative lead, and the flexibility of someone used to the breakneck pace of live-sports environments.

I dove into the build using every skill and shortcut in the Adobe Creative Suite — InDesign for long-format pagination and cross-referencing, Illustrator for custom player-bio artwork and positional graphics, and Photoshop for retouching, correction, and establishing a unified visual tone across hundreds of images. Before any of that, I crafted a cohesive look-and-feel system that served as the foundation: a robust, modern style guide that defined type behavior, grid architecture, color strategy, hierarchical treatments, and spacing ratios that could hold up across 350 pages of content variation.

 

And then came the daily grind — the kind of organized chaos that only sports creatives really understand.

 

“This photo, not that photo.”
“Do we have a reshoot of this player?”
“What’s the updated headshot?”
“Is this the right jersey version?”

 

Every question required fast reasoning, faster decision-making, and deep brand instinct. I loved every minute of it.

I had the autonomy to make real-time design decisions, collaborating closely with the club’s social, PR, editorial, and internal design teams. It was exactly the kind of environment where I thrive: high stakes, fast turnarounds, constant adjustments, and the shared excitement of building something that will be consumed by media outlets, broadcasters, analysts, and fans. There’s a unique satisfaction in creating something that sits at the intersection of sport, storytelling, and visual identity — and this project gave me all of that in spades.

 

With clear direction from leadership and trust from the organization, I transformed a massive volume of raw content into a polished, accurate, and engaging media guide that represented the Red Bulls with pride. It was one of those projects that reminded me why I love working in sports and entertainment: the energy is unmatched, the collaboration is intense, and the creative output becomes part of the real-world pulse of the game.

THE CHARGE
  • Worked with the Creative Director to evaluate performance, workflow, and quality issues and develop long-range plans for the team
  • Curated a culture of trust with peers, clients and all stakeholders
  • Set high-impact objectives and went above and beyond to exceed performance expectations
  • Lead design direction by providing subordinate creatives key assets for each leg of the campaign build (print and digital color breakdowns, templated breakdowns for ratio/sizes, imagery selection and definition of photographic color treatment and adjustments)
  • Developed concepts around brand touchpoints (e.g. campaigns, big events)
  • Creative lead on big events bringing to life entire platform, including primary campaign marks, color schemes and secondary elements, to usage guidelines and applications
  • Helped to identify best resources for creative production, e.g., online content, photography, talent, etc.
  • Reviewed proofs and seeing projects through final production
  • Prepared final files for production
  • Attended internal calls and meetings as required

GENERAL

AIR FRANCE

CASE STUDY

LIFESTYLE

Air France — Global Brand Refresh | 360

 

Period: 2020-2021

Overview: Co-developed refreshed global brand direction.
Challenge: Blend modern luxury with historical reference points.
My Role: ACD: Digital, Web, Video, Social.
Creative Approach: Banded visual system inspired by mid-century design.
Execution: Developed social, motion, kiosk, and app assets.
Impact: Delivered a timeless yet contemporary brand evolution.
Reflection: Reinforced passion for heritage-based brand storytelling.

 
The TEAM
  • Travis Hibbis, VP, CD
  • Luis Garcia, Senior Production Artist
  • Anthony Lowe, ACD
  • Michelle Johnson, Studio Manager
  • Kerry Goeller, Digital Production Artist
The RUNDOWN

Air France, the iconic flag carrier of France, is headquartered in Tremblay-en-France and operates as a proud subsidiary of the Air France–KLM Group. As a founding member of the SkyTeam global airline alliance, the brand occupies a unique position in aviation history — one built on prestige, engineering excellence, and a visual language that has shaped how generations imagine modern travel. For a creative, it’s the kind of brand where heritage isn’t just a reference point; it’s a responsibility.


When the opportunity for new business arose, our team was brought in to concept a comprehensive global brand refresh — one that could honor Air France’s storied past while confidently projecting the future of international aviation. The assignment demanded an approach that was equal parts strategic and nostalgic. We needed to excavate the visual markers that defined the brand’s golden eras, particularly the 1974 expansion into full global service, and reinterpret those cues using contemporary design systems and modern ratios.


Working closely with Anthony Lowe, I spent weeks immersed in research: historical campaign analysis, legacy posters, archival flight materials, color theory evolution, and the geometric precision that defined mid-century European travel design. In parallel, we examined the modern competitive landscape — understanding how digital-first airlines were leveraging cleaner UI systems, spatial balance, grid logic, and modular expansion across channels.


The result was a new cross-platform design language that merged the two worlds: a sleek, future-facing brand system built on the structural integrity of its past. Our core idea centered on a “banded” visual gestalt — a system of horizontal, architectural visual planes that echoed vintage Air France layouts while giving the brand a flexible, unmistakably modern rhythm. This construct became the backbone of the campaign.


From there, we scaled it everywhere:


  • Digital ecosystems: social, kiosks, web modules, and app interfaces
  • Motion and video: multi-format cross-deployment assets engineered for international markets
  • Brand storytelling: visual sequences that reintroduced the brand’s heritage in a contemporary voice
 

Every touchpoint carried the same signature structure — clean, elevated, global. It was the kind of work that proves how powerful a brand can be when its history and its future are allowed to speak in the same breath.

THE CHARGE
  • Reviewed others feedback to develop self-awareness, strengths and address development areas
  • Built relationships quickly with others and engaged personally with peers and clients
  • Collaborated with stakeholders and embraced an inclusive-based environment
  • Designed comps, storyboards, initial graphic concepts, and final deliverables
  • Developed and evaluated creative concepts, copy and art, at pre-determined points and providing direction prior to review by account management

JAGUAR, U.S.

CASE STUDY

Role: Senior Designer, Automotive

Period: 2008-2010

Platform: Print, Digital

Lift: 360 Campaign: Brand Refresh

The TEAM (YOUNG & RUBICAM)
  • Dan Allegria, Studio Manager
  • Christopher Dyer, Senior Designer
The RUNDOWN

I was with a creative team with Young & Rubicam, Los Angeles, in the role of Senior Designer made up of other designers, copywriters and art directors, working on a wide range of clients in the travel, media, hospitality with my assignment being the Jaguar U.S. in-market brand refresh. Collaboration was a must and an open mind was and always is key.

 

There is a moment in the careers of many people that we all stop and think “This. THIS is on what I want to be working!” Working with Young & Rubicam: Wunderman Brands in Orange County, CA was the initial satisfaction. Being asked to work on Jaguar/Land Rover was just a cherry on-top. Jaguar pulled the trigger on creating in-showroom assets to better engage the expendable income demographic. After a then-new market study, Jaguar noticed a trend that their client base preferred to research their purchases online first with as much information possible. It was no longer the time of walking in and kicking the tires, that part generally came just before purchase. This demographic was most-likely to enter a showroom ready-to-purchase after research—the initial part of this group wanted a “breadcrumb” of sorts as a reminder to research their options. Knowing that, we were tasked with overhauling the original brochures that were given to legacy Jaguar clients into a slicker, amenity-immersive take away that was much more contemporary than the prior versions that were intended for repeat customers.

 

Working with the Wunderman Team at Young & Rubicam in Orange County, CA, I was pulled into the rebrand of the Jaguar XKR-S and revise the prior campaign for the dealership collateral to appeal to their newly-discovered demographic of 33-48 year olds with disposable income. Converting the original, older working files from the last campaign from Quark to InDesign while maintaining file integrity was the first step—developing a new, cohesive, flash persona for the marketing materials was it’s own undertaking.

 

The XKR-S is not merely the quickest Jaguar ever but also the most agile, responsive and driver-focused. As with competition Jaguars of the past, the exterior of the XKR-S adheres to the principle of form following function. The XKR-S embodies all the characteristics that have always defined legendary Jaguar GTs – explosive performance, precise handling, relaxed comfort and discreet luxury – while taking Jaguar into a new performance level. The Jaguar XKR-S now possesses a number of revisions that reinforce its contemporary, assertive character.

 

There was one hurdle—Jaguar wanted to print the same dimensions as the previous collateral. Y&R was updating from Quark to InDesign and was in this tenuous period of using plugins to attempt to salvage as much as the original files as possible as Quark was no longer giving support. In this, my technological savvy directly paid off. Without giving up trade secrets, I asked for the group of files and over the course of two days converted them to an InDesign-manageable format and we got to designing our hearts out. Our showroom collateral went from a dry, stuffy, status-symbol-based brochure that reaffirmed to clients that they made the right upgrade to a more-engaging, dynamic, “open this car up and feel it” spirit from copy to design. As soon as both the in-showroom informative larger-format brochure and the 22-page take away guide hit the hands of the “breadcrumb” seekers, sales hit a sharp upswing.

THE CHARGE
  • Demonstrated strong conceptual thinking, understanding of marketing strategy, and ability to produce out-of-the-box designs, whilst juggling multiple projects at one time
  • Treated others with respect, listened to other perspectives, especially when they were different from own
  • Worked with the upper management team to plan and pursue continuing strategic growth of agency billings and participate in new business pitch opportunities
  • Designed comps, storyboards, initial graphic concepts, and final deliverables
The WORK

KEURIG/DR. PEPPER

CASE STUDY

LIFESTYLE

Keurig/Dr. Pepper — Social Media Animation System

 

Period: 2021-2022

Overview: Developed a sensory-driven motion identity for the brand.
Challenge: Recapture the iconic steam effect from the 1970s Times Square billboard.
My Role: ACD, Animation. Served as motion designer and visual architect.

Creative Approach: Used frame-by-frame flipbook animation for natural movement.
Execution: Scaled assets across 1:1, 9:16, and 16:9 formats.
Impact: Created a calming, memorable branded motion language.
Reflection: A satisfying blend of nostalgia, environment, and animation craft.

The TEAM
  • Aileen Boyce, VP, CD
  • Anthony Lowe, ACD
  • Michelle Johnson, Studio Manager
  • Kerry Goeller, Digital Production Artist
The RUNDOWN

Keurig Dr Pepper Inc., formerly Green Mountain Coffee Roasters and Keurig Green Mountain, is a publicly traded American beverage and coffeemaker conglomerate. Keurig Dr Pepper is a leading beverage company in to bring hot and cold beverages together at scale. KDP is committed to sourcing, producing and distributing beverages responsibly through their Drink Well. Do Good. corporate responsibility platform including efforts around circular packaging, efficient natural resource use and supply chain sustainability.

 

I was tasked with developing a refreshed brand look-and-feel for an HTML5 animation system that could seamlessly extend into video assets as the brand repositioned itself around themes of environmental consciousness and mindful consumption. The challenge was to create a motion language that felt softer, more human, and more emotionally resonant — something that could evoke warmth and grounded comfort without drifting into nostalgia for nostalgia’s sake.

 

To establish this new direction, I drew inspiration from a classic piece of New York visual culture: the 1970s Times Square Chock Full O’Nuts billboard, famous for the soft plume of steam rising gently above the display. That subtle animated element — simple, atmospheric, and emotionally disarming — had an uncanny ability to evoke the sensory experience of warm coffee. I used that reference as the atmospheric backbone of the brand’s refreshed motion identity.

 

Working with imported steam footage and an alpha channel, I created a frame-by-frame flipbook-style steam animation that captured the quiet, meditative quality we needed. I paired that with a system of gentle tweens across the brand’s core assets, establishing a motion cadence that communicated ease, calmness, and sustainability — moments of micro-pause that allowed viewers to reset visually and emotionally. The animation became less about movement for movement’s sake and more about creating a sensory invitation into the brand.

The resulting campaign system scaled elegantly across formats — from 1:1 to 9:16, with adaptable 16:9 applications — allowing the motion language to function cohesively across social, digital, and video environments. The combination of soft atmospheric animation, thoughtful pacing, and a warm, environmentally aligned design sensibility resulted in a visual campaign that felt both contemporary and deeply rooted in emotional craft.

THE CHARGE
  • Successfully managed shifting priorities, tight deadlines and last-minute requests
  • Promoted a culture of creative quality and accountability and ensured creative deliverables meet both our clients’ expectations and our own standards of excellence
  • Extended client relationships and explored new ways to deliver value
  • Ideated, wrote and executed original and iconic creative concepts in response to client briefs, objectives or goals
  • Brainstormed and developed campaigns while working with clients on multiple projects at once
The WORK

ROLEX

The BRIEF

Role: Senior Designer: Print

Period: 2009

Platform: Print

Lift: Print, Periodical

Specs: Print Periodical, Full-Bleed, G.Q.: 8 3⁄8” x 10 7⁄8

The RUNDOWN

ROLEX is a Swiss watch brand and manufacturer based in Geneva, Switzerland.[2] Founded in 1905 as Wilsdorf and Davis by German businessman Hans Wilsdorf and his eventual brother-in-law Alfred Davis in London, the company registered Rolex as the brand name of its watches in 1908 and became Rolex Watch Co. Ltd. in 1915.

The WORK

PERFORMANCE AND EVENTS

HAVAS PRIDE 2020

CASE STUDY

ENTERTAINMENT | MEDIA

Havas Hudson/Canal — Havas Pride 2020, “Werk from Home”

 

Period: 2020

Overview: Cultivated strong cross-disciplinary creative collaboration.
Challenge: Corporate DEI/PRIDE Initiative during COVID. Align teams with varying priorities and workflows.

My Role: Senior Art Director/Creative Lead: Animation, Animation, Logo Mark, Animation and Video. Managed resources and communication across stakeholders.

Creative Approach: Led with honesty, integrity, and humility.
Execution: Optimized workload distribution and structured feedback cycles.
Impact: Raised team morale, trust, and delivery quality.
Reflection: Confirmed that people and process are inseparable in great work.

The TEAM
  • Travis Hibbis, VP, CD
  • Lisa Boosin, ACD
  • Anthony Lowe, ACD
  • Michelle Johnson, Studio Manager
  • Hayden Griffin, Copywriter
  • Kerry Goeller, Digital Production Artist
  • Shirley Katz, Executive Director, Head of Resource Management
  • Aileen Boyce, VP, Associate Creative Director
  • Rob Conger, Presentation Designer
The RUNDOWN

When you’re genuinely proud of the work you create — not just the output, but the collaboration, the purpose, and the people behind it — stepping up to host, design, and organize the Havas Pride 2020 initiative felt not only natural, but deeply meaningful. In a year defined by uncertainty and isolation, our creative community needed something unifying, something grounding, something that reaffirmed who we are and what we stand for.

 

With the onset of COVID-19, the entire world shifted overnight. Anyone who wasn’t an essential worker found themselves confined at home, navigating a new emotional and physical reality. Work, family, routine, connection — everything paused. And when the announcement came that NYC Pride, one of the largest and most anticipated celebrations of the year, had been officially cancelled by public health agencies, the loss reverberated across the entire LGBTQIA+ community. This wasn’t just an event; it was a yearly rite of joy, protest, remembrance, and collective affirmation. Losing that moment meant losing a space where many of us feel most seen.

 

As part of the HXC 2020 Pride Committee, I took on the responsibility of creating and leading the overall visual direction for our internal celebration. The design system needed to be both uplifting and adaptable, something that could translate across digital spaces when physical gathering was no longer possible. I developed a cohesive look-and-feel that established the foundation for all Pride-related assets — from Instagram filters and social frames to shareable graphics and committee templates. This system became the backbone that empowered other committee members to build the materials they needed with confidence and consistency.

 

In a moment when Pride could no longer take place in the streets, we brought it into our screens, our homes, and our internal culture. The initiative became a testament to creative resilience, community leadership, and the power of design to hold space when the world cannot.

NEW YORK CITY PRIDE 2024

CASE STUDY

ENTERTAINMENT | MEDIA

NYC Pride 2024 — Creative Direction | 360

 

Period: 2024

Overview: Led creative direction for NYC Pride 2024 across experiential, digital, video, and social.
Challenge: Evolve the heritage-driven brand while maintaining cultural authenticity.
My Role: Creative Director: Enviromental/Experiential, Social Media and Video Animation.
Creative Approach: Rooted visuals in Pride’s legacy while modernizing color and type systems.
Execution: Delivered cohesive assets across OOH, parade, social, and digital experiences.
Impact: Strengthened Pride’s visual presence and increased audience engagement.
Reflection: A meaningful intersection of community, identity, and creative leadership.

The TEAM
  • Sandra Perez, Executive Director, NYC Pride

  • Kazz Alexander, Co-Chair, NYC Pride

  • Sue Doster, Co-Chair, NYC Pride

  • Evan Reed, Youth Pride Coordinator

  • Veronica Ryzio, Media Coordinator 

  • Kayle Williams, Assistant Creative Director

The RUNDOWN

“Heritage of Pride works toward a future without discrimination where all people have equal rights under the law. We do this by producing LGBTQIA+ Pride events that inspire, educate, commemorate and celebrate our diverse community.”

 

As Creative Director leading the creative vision for NYC Pride 2024, I drew on two decades of experience in the New York advertising and live-event landscape to shape work that honored the legacy of Pride while pushing the brand forward with contemporary relevance. Having spent my career balancing the analytical and the emotional, the strategic and the expressive, I approached Pride with both a marketer’s discipline and a queer creative’s lived understanding of what the moment means for our community. My role required translating a broad constellation of organizational objectives, partner expectations, community insights, and cultural truths into cohesive creative platforms deeply rooted in the heritage of Pride — work that resonated authentically while still moving at the pace and scale of a major NYC cultural institution.

 

I infused life into every step of the experiential community journey — from large-format environmental branding to digital ecosystems, editorially-driven video storytelling, and highly social-driven moments engineered for amplification. I leaned into my hybrid training across art direction and copywriting to craft visual languages, narrative frameworks, and design systems that worked seamlessly across tentpoles, mediums, and platforms. The work was not only about aesthetics; it was about building emotional continuity across touchpoints, ensuring that everyone who engaged with the Pride experience felt seen, welcomed, and connected to something larger than themselves.

 

My background with high-profile live event environments — including MSG, Major League Soccer, and other marquee entertainment brands — allowed me to elevate NYC Pride with a level of production sophistication and audience intelligence typically reserved for major sports and entertainment properties. I kept a constant pulse on marketplace innovations, from emerging experiential tech to evolving social behaviors, and proactively integrated those insights into concepts that could cut through the relentless noise of the NYC media landscape. Pride deserved nothing less than best-in-class creative rigor, and I made sure it received it.

 

In addition to leading key creative initiatives, I oversaw a large portfolio of high-value sponsorship platforms — managing the full creative process from concept development through execution and real-time refinement. I thrived in client-facing environments, especially with C-suite partners such as Mastercard, where I leveraged my storytelling expertise to communicate the strategic intent behind our work and to champion the team’s thinking in a way that was clear, compelling, and visually arresting. Many of these platforms ultimately evolved into award-winning Pride initiatives that strengthened partnerships, drove measurable business outcomes, and elevated NYC Pride as a leading and credible voice within the LGBTQIA+ movement.

 

I directed the overarching creative vision for a wide range of promotional and branded materials — including environmental design, stage and scenic design, special event branding, print collateral, digital assets, and social content — ensuring that every deliverable laddered up to a unified system rooted in Pride’s mission. My process was deeply collaborative: integrating client briefs, cross-functional conversations, evolving community expectations, and internal brand strategies into work that served all stakeholders without sacrificing creative integrity.

 

Throughout my tenure, I was recognized not just for the work itself but for the way I built the work — with integrity, clarity, optimism, and a relentless commitment to thoughtful representation. I bring a calm yet energized leadership presence, strong interpersonal intuition, and a work ethic shaped by years of navigating the fast, demanding, beautifully chaotic world of New York advertising as a queer creative. My goal has always been to inspire teams to go further, think deeper, and create platforms that feel not only powerful and premium, but meaningful — work that reflects NYC Pride as a transformative force in culture and a beacon for queer equality worldwide.

THE PALEY CENTER FOR MEDIA, NYC

CASE STUDY

ENTERTAINMENT | MEDIA

PaleyFest — Orphan Black Digital

 

Period: 2016

Overview: Created an event reel for a sold-out Orphan Black PaleyFest seminar.
Challenge: Transform a basic slide deck into a fan-worthy experience.
My Role: Art Director, Contract. Served as designer, editor, and devoted fan of the show.
Creative Approach: Focused on character moments, narrative arcs, and pacing.
Execution: Built a dynamic multi-night presentation incorporating live footage.
Impact: Fans actively engaged with the screens and captured photos of the reel.
Reflection: A deeply personal and creatively fulfilling entertainment project.

The TEAM
  • CK Chen, Senior Creative Director, The Paley Center
The RUNDOWN

PALEYFEST 2017 celebrated Orphan Black, the groundbreaking sci-fi drama exploring the far-reaching consequences of a covert government cloning experiment. For a series with such a passionate fanbase and such a distinct creative identity, it was exactly the kind of entertainment project I love diving into — one that merges fandom, storytelling, and the electric atmosphere of a live cultural event.


During my time working with The Paley Center for Media, I was already knee-deep in producing a wide range of promotional print and digital assets — everything from event flyers and branded collateral to web banners, email promos, and onsite screens for celebrity panels. The Paley Center has always been a sacred space for anyone who loves television and pop culture; it’s an archive, a museum, and a storytelling hub all in one. So when Senior Creative Director Jack Chen casually mentioned that Orphan Black was coming in for a PaleyFest Q&A panel, I nearly had to stop myself from vibrating out of my chair.


I’ve always been drawn to entertainment properties with rich worldbuilding and devoted fan communities, and Orphan Black sits high on that list. Hearing that it would be hosted in just one week, I remember walking straight over to Jack’s desk and asking — probably with too much enthusiasm — what I could do to help. Much of the event branding was already underway, but there was one piece still outstanding: a PowerPoint-style presentation that needed to highlight the cast, the characters, and key moments from the show for the live audience.

For most designers, that might have been just another slide deck.


For me — a creative who thrives in the entertainment world and was already emotionally invested in this show — it became an opportunity to build something special.


The team no longer needed to scramble to educate themselves on a show they hadn’t seen. I knew the characters, the arcs, the tone, the visual language. I knew what fans cared about. And I knew exactly how to translate that into a presentation that felt more like a mini-feature than a series of static slides. I pulled together dynamic compositions, layered key art, integrated motion, and built a sequence that honored the spirit of the show while energizing the audience for the live Q&A.


What happened next made it even more meaningful.


The Orphan Black event sold out immediately and was expanded into a two-night engagement because the demand was so overwhelming. After night one, I took it upon myself — without being asked — to append new video footage and fan moments from the first evening into the next night’s presentation. It transformed the deck into an evolving, in-the-moment celebration that reflected the energy happening inside the venue. That flexibility is something I’ve always loved about entertainment work: everything is alive, everything moves, everything responds to the audience.


By the time the event opened, the reel had become a highlight in its own right. Fans crowded around the screens, taking photos in front of the animations and calling out favorite characters as they appeared. Watching them react — seeing joy, nostalgia, laughter, and excitement spark in real time — was the moment I knew I had done something right.


Entertainment projects like this remind me why I love working in this industry: the human response, the shared energy, the cultural connection. When the work resonates with fans, it becomes part of the memory of the experience itself — and that is the highest reward.

FINANCE & BANKING

BNY MELLON

CASE STUDY

Role: Creative Lead: Animation, HTML5 and Video, Senior Art Director

Period: 2023

Platform: HTML5 Banner Animation, Video, Social

Lift: Corporate Promotional Campaign, Finance

The TEAM
  • Pricilla McGann, SAD
  • Anthony Lowe, ACD
  • Michelle Johnson, Studio Manager
  • Kerry Goeller, Digital Production Artist
The RUNDOWN

The original ask could not have been simpler: produce a straightforward rasher of banner ads to support an upcoming BNY media flight. A quick turn. A light lift. On paper, nothing more than assembling a series of static digital placements. But as is often the case in real-world creative, the simplicity was only surface-level. The true complexity emerged in the mandate beneath the brief — the careful, conscientious integration of BNY’s DEI and social-equity requirements, all aligned to a broader institutional effort around representation, visibility, and equity.


During the first round, the expectation was modest: showcase ethnic diversity across the asset suite. Even so, I pushed for a more dimensional approach from the jump. Representation isn’t a box to check — it’s a system of signals, layers, and lived nuance. So I advocated for expanding the casting framework beyond ethnicity alone, incorporating gender diversity, orientation-inclusive cues, and a richer range of identities. The result? A set of banners that didn’t just “hit the marks,” but quietly elevated the work. The client immediately noticed. Their enthusiasm came not just from what they saw onscreen, but from sensing there was more happening beneath the visible execution — and they were right.


While delivering against the initial scope, I was already building the next chapter behind the scenes. By the time BNY initiated their next media buy, I had pulled down their entire design-standards library, parsed through the subtleties of their internal specifications, and begun translating all of it into motion. I moved the work into Adobe Animate and set up a pipeline that allowed the animations to match their brand infrastructure with pixel-for-pixel fidelity. Everything — pacing, easing, transition timing, spacing, typographic entry, color tolerances — was aligned to their internal regs so cleanly that the banners felt native to every environment they lived in: web placements, paid social, programmatic units, and even their out-of-home digital screens.


And critically, the motion wasn’t just decorative. The animation strategy reinforced brand recognition first — a strong, unmistakable identity presence — before dissolving seamlessly into the diversity-driven imagery. The fade was gentle, intentional, and designed to act as a signal: a quiet but deliberate reveal of who BNY is investing in, speaking to, and standing beside. The work evolved from simple static banners into a fully integrated, brand-consistent, socially intentional creative system.

THE CHARGE
  • Managed the workload for assigned book of business to maximize the productivity and quality of work from the creative staff
  • Built relationships quickly with others and engaged personally with peers and clients
  • Collaborated with stakeholders and embraced an inclusive-based environment
  • Implemented traditional and interactive design, including web, mobile, UX, animation, social and rich media experiences
The WORK

WELLS FARGO

CASE STUDY

Role: Senior Designer: Print

Period: 2008-2012

Platform: Print, Direct Mail: Financial

Lift: Member Rewards Program Collateral

The TEAM
  • Jill Gwaltney, CEO, CD
  • Maggie Sause, SAD
  • Carla DeMarco, Studio Manager
  • Rogelio Rivera, Production Designer
The RUNDOWN

As Associate Creative Director, I was tasked with developing the full creative platform for Wells Fargo’s new Debit Rewards Program — a system designed to add value to everyday purchases while modernizing the bank’s perception of what “rewards” should look and feel like. My role was to shape the concept, voice, and visual cadence of the campaign, ensuring it spoke to the realities of how people actually use their debit cards: intuitively, frequently, and across the most routine moments of their day.

 

 

 

The strategic insight was simple but powerful: reward the rhythm of everyday life. People aren’t looking for complicated reward structures or hoops to jump through. They want benefits that feel seamless, human, and immediately useful. From that, I built a tone that was clean, modern, and grounded in clarity — something that stood apart from the overly complex reward programs dominating the marketplace.

 

 

 

I crafted a narrative that positioned Wells Fargo Debit Rewards as a program that quietly works in the background of its customers’ lives. Whether someone is grabbing a morning coffee, grocery shopping, paying for gas, or booking a weekend getaway, the campaign emphasized that every purchase — big or small — helps build toward something meaningful. I wrote the benefit language, messaging architecture, and microcopy that turned this idea into a cohesive multi-channel campaign.

 

 

 

Key messaging themes I developed included:

 

  • automatic earning on every purchase

  • flexible redemption options (cash back, travel, gift cards, statement credits)

  • real-time tracking through the Wells Fargo Mobile® app

  • curated partner offers that feel tailored to lifestyle shifts

  • a transparent, category-free rewards system

 

From a design and storytelling standpoint, I leaned into a warm, lifestyle-focused visual system and a straightforward copy tone that demystified the product. I wanted every line to feel intuitive and honest — no marketing jargon, no buried conditions, just direct value.

 

 

 

The result was a rewards platform that felt less like a bank product and more like a companion to everyday living.

Ultimately, the campaign helped reposition Wells Fargo’s debit card from a simple payment method to a value-generating tool — a shift that resonated with both customers and internal stakeholders. It was a rewarding challenge that combined strategic storytelling, human behavior insight, and a clear, elevated design voice.

The WORK

Rewards Program Tri-Fold DM

Rewards Program Member Letters DM

NEWS OUTLETS

THOMPSON REUTERS

CASE STUDY

LIFESTYLE

Thomson Reuters — HTML5 Banner System

 

Period: 2017-2019

Overview: Created animated HTML5 banner suite for Thomson Reuters. 

Challenge: Execute a fully tagged banner campaign under a 10-hour turnaround.
My Role: Creative Lead: Animation, HTML5 and Video, Senior Art Director
Creative Approach: Rebuilt raster assets as vectors and used smooth transitions.

Platform: Digital

Execution: Produced 9:16 and 300×500 banners with embedded clicktags.
Impact: Exceeded engagement expectations across targeted and non-targeted demos.
Reflection: Demonstrated that speed and polish can coexist under pressure.

The TEAM
  • Travis Hibbis, VP, CD
  • Aileen Boyce, VP, ACD
  • Andy Mathurin, CD
  • Michelle Johnson, Studio Manager
  • Hayden Griffin, Copywriter
  • Kerry Goeller, Digital Production Artist
  • Rob Conger, Presentation Designer
The RUNDOWN

Thomson Reuters Corporation, a major multinational information and media conglomerate, approached our Havas Hudson & Canal team with a weekly ad buy for Eater Magazine and Car and Driver. Their request was straightforward on paper but required a strong hybrid of design sensibility and technical execution: take their existing print campaign assets and translate them into animated HTML5 banners capable of embedding clicktags to support monetization and performance tracking across multiple CMS systems.

 

With only a 10-hour window to concept, convert, animate, code, and deliver the full suite, I moved quickly and methodically. I began by converting the raster-based print assets into clean vector components, giving me the flexibility to animate them smoothly and maintain visual crispness across high-resolution digital environments. From there, I built out a series of elegant transitions between slates, ensuring each animation felt premium, cohesive, and aligned with Thomson Reuters’ brand behavior.

 

Once the motion system was established, I handled the technical integrations — embedding standard and platform-specific clicktags, coding compatibility for ad servers, and packaging the assets to cooperate cleanly with Google FTP pipelines. This step was crucial to ensure accurate tracking, smooth deployment, and monetization visibility for the client’s analytics teams.

 

The results were unexpectedly strong.

When the Havas account managers pulled the performance data, both they and the client were genuinely surprised: engagement far exceeded projections, and the banners tracked interest outside the initial target demographic, revealing a wider, more diverse pool of prospect engagement. The on-screen behavior validated the creative and the technical approach — and demonstrated how refining motion, pacing, and interactivity can significantly amplify a campaign’s ROI.

 

I ultimately delivered a full set of animated assets, including 9:16 vertical units and 300×500 HTML5 banners (represented in video format for portfolio purposes, due to platform limitations around hosting .zip files). Each piece was designed, animated, encoded, and delivered to perform seamlessly across CMS systems and paid placements.

THE CHARGE
  • Mentored and trained team members, wrote performance reviews, and allocated work
  • Championed curiosity and open mindset towards new ways of doing things
  • Ensured that creative presentations to the client met the highest professional standards
  • Brainstormed and developed campaigns while working with clients on multiple projects at once

SERVICE PROVIDERS

DIRECTV

CASE STUDY

LIFESTYLE

DirecTV — Regional Overflow Campaigns

 

Period: 2008-2012

Overview: Supported multiple regional markets with overflow creative.
Challenge: Meet rapid-fire timelines during intense market competition.
My Role: Art Director. Delivered cross-regional assets for print and digital.
Creative Approach: Created unified visual identity across territories.
Execution: Produced direct mail kits, brochures, and banners.
Impact: Led to requests from Chicago and New York markets.
Reflection: Honed agility and fast-turn creative problem solving.

 
The TEAM
  • Jill Gwaltney, Founder, Chairman & CEO, Rauxa
  • Cara Martin, Graphic Designer
  • Rogelio Rivera, Graphic Designer, Rauxa
  • Eric Woo, Graphic Designer, Rauxa
  • Annabelle Lepe, Senior Graphic Designer, Rauxa
  • Karla DeMarco, Studio Manager
  • Dana DeLaurentis, Senior Account Manager
  • Michelle Toledo, Creative Strategy Executive, Rauxa
The RUNDOWN

During my years freelancing in Los Angeles, I spent a significant amount of time embedded within the direct mail ecosystems of agencies such as Rauxa Direct and Campbell Mithun. These were the kinds of shops where you learned to think fast, work clean, and respect the craft of high-volume, high-precision production. But like many West Coast agencies, their workloads ebbed during the slower summer stretch, and at one point both shops found themselves unexpectedly light on assignments.


Then my inbox started lighting up.


Both agencies reached out within days of each other, asking whether I could take on remote work for them because their client, DirecTV, was suddenly experiencing an enormous overflow of creative needs. A new campaign had launched with the goal of winning back former subscribers during the height of the OTA/OTV battles — when Dish, an expanding universe of streaming services, and DirecTV were all fighting tooth-and-nail for market share. The agencies didn’t have the available staff for the surge, and the projects weren’t quite large enough to justify reallocating full teams.


But they trusted me.


And they referred me — which in Los Angeles is its own currency.


Each regional market had its own design nuances and aesthetic tendencies, but the messaging was consistent across the entire national footprint. Working remotely, I navigated the visual rhythms of multiple regions simultaneously: adjusting type hierarchies, promotional layouts, calls-to-action, and brand behaviors to match local expectations while still maintaining the national strategy. That type of adaptability — knowing when to honor regional specificity and when to keep the brand locked tight — is something that only comes from real-world volume and repetition.


Not long after the remote work began, DirecTV requested that I come into their headquarters to support both print and digital asset development directly. Suddenly, I wasn’t just building direct mail kits; I was touching brochures, sales materials, and large-format out-of-home placements. If you were in Southern California at that time, there’s a decent chance you saw something I designed — whether in your mailbox, on a freeway billboard, or tucked inside a retail environment.


Within a year, word had spread beyond the Pacific region.


Chicago and New York began requesting me specifically to execute their local versions of the campaign. It was one of those rare periods where freelance opportunity, brand trust, and high-volume creative needs all converged — and it cemented my reputation as someone who could not only handle scale, but elevate it.

THE CHARGE
  • Ensured resources are allocated according to project needs
  • Approached situations and individuals with honesty, integrity and humility
  • Demonstrated to clients that an understanding of their marketing challenges and was responsive to their strategic needs in proposing creative solutions
  • Lead design direction by providing subordinate creatives key assets for each leg of the campaign build (print and digital color breakdowns, templated breakdowns for ratio/sizes, imagery selection and definition of photographic color treatment and adjustments)

VERIZON WIRELESS

CASE STUDY

LIFESTYLE

Verizon Wireless — Pacific Market Campaigns

 

Period: 2008-2012

Overview: Developed direct mail and OOH creative for Verizon’s Pacific region.
Challenge: Adapt national brand voice to varied regional design needs.
My Role: Art Director—Created and managed multi-format campaigns across agencies.
Creative Approach: Maintained strict brand consistency while addressing local nuances.
Execution: Designed billboards, mailers, and upgrade promotions.
Impact: Expanded role through consistent campaign performance.
Reflection: A defining chapter in high-volume regional advertising.

The TEAM
  • Cara Martin, Graphic Designer
  • Rogelio Rivera, Graphic Designer, Rauxa
  • Eric Woo, Graphic Designer, Rauxa
  • Annabelle Lepe, Senior Graphic Designer, Rauxa
  • Jill Gwaltney, Founder, Chairman & CEO, Rauxa
  • Karla DeMarco, Studio Manager
  • Dana DeLaurentis, Senior Account Manager
  • Michelle Toledo, Creative Strategy Executive, Rauxa
The RUNDOWN

Somewhere on this site, I already confessed my guilt for being one of the many hands behind the avalanche of Verizon Wireless direct mail that likely made its way into your mailbox. And, in the spirit of full transparency, I have to offer a second apology — because my history with Verizon is even more extensive than that. For nearly two years of my life in Los Angeles, I lived inside a world painted entirely in Verizon red. My days were spent breathing the cadence of “Can you hear me now?” as if it were part of the local weather report.


Everywhere I turned — whether sitting in traffic on the 405 or walking through a studio lot — I saw Paul Marcarelli’s face staring back at me. He and I became unlikely coworkers. I placed him on billboards across the Pacific region, dropped him into direct mail kits, repurposed him for product-driven visuals, and used him as the connective tissue for an immense volume of regional and national marketing materials. He was the glue of a campaign that required consistency, clarity, and the kind of omnipresence that only a telecom giant with a massive advertising footprint can demand.


The work itself was an exercise in versatility: one week, I was building assets for contract-buyout promotions; the next, I was designing upgrade campaigns for phones and accessories; then pivoting into positioning a family-oriented device built for kids — a cheerful little phone outfitted with both voice and GPS functionalities meant to reassure parents across the region. Verizon’s creative pipeline never stopped moving, and I had to match that pace with equal parts precision and stamina.


Because the Los Angeles advertising community is famously tight-knit, word spread quickly about who understood the Verizon brand and who could execute on the finer nuances of the campaign. My reputation grew not through self-promotion, but through reliable delivery and a deep, almost intuitive understanding of the brand’s visual and strategic DNA. Eventually, Verizon’s account executives began specifically requesting me to lead the design legs of various initiatives, even though I was working as a contract creative across two of their partner agencies — Campbell Mithun and Rauxa Direct.


By the end of those two years, I had not only developed a portfolio that could practically hum the Verizon brand standards on command, but I’d also honed the ability to navigate complex multi-agency workflows, high-volume production environments, and the kind of consistency-driven creative problem-solving that would later become foundational to my approach as an ACD. It was relentless, rigorous, and — in its own way — strangely formative.

THE CHARGES
  • Ensured resources are allocated according to project needs
  • Approached situations and individuals with honesty, integrity and humility
  • Demonstrated to clients that an understanding of their marketing challenges and was responsive to their strategic needs in proposing creative solutions
  • Lead design direction by providing subordinate creatives key assets for each leg of the campaign build (print and digital color breakdowns, templated breakdowns for ratio/sizes, imagery selection and definition of photographic color treatment and adjustments)

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