NextGen Climate is a non-profit focused on bringing climate change to the forefront of American politics. As design director I led the team in developing the digital and offline products for both national and state-specific campaigns.

This included all social content, infographics, voter registration tools, national and state-specific websites, email, as well as field organizing materials such as placards, signage, t-shirts, buttons, etc. 

Our Fight was national campaign launched before the midterm elections. We aimed to provide both the historical context of denial and showcase the real people behind the issues. We produced a national spot with Darren Aronofsky, and three short features shot in Iowa, Michigan, and Colorado.

"Our Fight" 
Director: Darren Aronofsky
Digital Director: Jesse Thomas
Photography: Varial Cedric Houin

In 2011 adidas came to us with a unique challenge. How do we unify three distinct brands under the same platform? Thus "adidas all in" was born.

I was involved from the early pitch stages and ideation, through the multi-continent production, to the launch of the integrated campaign. The branding was laid out in an extensive print, digital, and a photography guideline that was distributed globally. I worked alongside the type house BaseLab to create the AdiNeue typeface that is still used across all adidas digital, product literature, advertisements, and in-store.

Creative Directors: Kris Manchester
and Yann Mooney
Copywriter: Evan Brown
Director: Romain Gavras
Photography: Cheryl Dunn, Mark Oblow

*The images following the style guide have been collected from other sources. They serve only as examples of how the guideline translated across platforms and countries, and I do not claim creative rights to any of the individual executions. 

The lack of knowledge most people have when it comes to their housing rights is no surprise to me. The educational materials provided by housing authorities are numerous, difficult to understand, and not readily accessible. Because most people don't understand their rights, many are taken advantage of. In New York City's vicious real estate market, renters are often either not provided with the housing amenities required by law, are ignored, or are subject to harassment if they demand recourse. This, I believe is inherently related to the escalating problem of gentrification. 

The intent of my thesis is to provide New Yorkers with a tool they can use to become organized, informed, and capable of solving their housing problems. 

Priceline threw the Negotiator off a cliff in the last spot, so how were we going to bring him back? The ideas ranged from reincarnation as an eagle to cloning. But as you might suspect he didn't actually die in the fiery inferno. The negotiator is always in control, and in this case, off to pursue his new passion.

"The Negotiator Lives"
Director: Joachim Back
Creative Directors: Steve Mapp & Josh Leutz
Copywriter: Luke Zehner

In an effort to update Priceline's image and to tout their digital prowess we introduced a new look as well as a new character: The Negotiator's secret love child. Establishing the father daughter duo we crafted a "origin" spot where we give some context, and then filled out the campaign with shorter promotional pieces using our new spokeswoman. 

"Dojo"
Director: Nicolas Winding Refn
Creative Directors: Steve Mapp & Josh Leutz
Copywriter: Luke Zehner

For most of 2009 I worked on developing the rules and guidelines for adidas’ style brand Originals. These rules covered everything from in-store communication, print ads, window displays, 3rd party retailers, endslates, and digital executions. I also worked on several product specific executions such as the A.039 lookbook, and a Mi-Originals in-store mural. 

"Put Some Oomph In It" marked the first national campaign put out by Zico since being acquired by Coca-Cola. Due to a truncated timeline, stock photography was used over creating new assets. A look was developed that both unified the imagery and reinforced Zico's existing brand colors across all media platforms. A series of short videos featuring a cast of off-beat hight-energy characters were produced to inspire oomph to those in need. The videos have reached over a million views collectively.

Creative Director: Tom Coates
Copywriter: Michael Flannery
Director: Henrik Sundgren

This series of print ads were shot for Piperlime's Spring 2012 season. Not many people were familiar with Piperlime so these ads were meant to both demonstrate and explain what the brand was. Our goal was to showcase a lot of product but at the same time maintain the elevated look of a fashion ad. 

In the fall of 2013, I worked on a climate action campaign in Virginia. Our design efforts were focused on digital tools, such as voter registration, digital ads, and field materials for getting out the vote on campuses across Virginia, 

Drawing is at the core of my professional work. Whether it's a sketch that informs my digital work, or the product itself. I find the tactile quality of illustration lends itself well to many applications.

This campaign for Mission foods was featured in Communication Arts Typography Annual. The rebranding aimed to reflect the heritage and personality of the brand. It was translated through digital, out-of-home, print, and in-store. 

The respected winter boot maker needed a rebranding that would move them into the world of fashion without betraying their roots. Get Your Boots Dirty became the idea that merged the world of fashion and function. Instead of using models, we featured real women who use their boots to do more than look good, they get things done. 

The new look included a in-depth style guide that was implemented across print, web, banners, and social media. A photography guideline was created as well to maintain consistent imagery from brand communications down to the retail level. 

Creative Director: Tom Coates
Copywriter: Michael Flannery
Photographer:  Tim Barber
Videographer: Caleb Seppala

A book of 12 common freshwater fish of North America. Each is an individual woodcut, combined with titles made with lead type. The paper, the cover, and the binding technique are all Japanese in origin to evoke the delicate, Japanese printmaking style. The texture on the cover was letterpressed in gold and made to look like scales. The paper is french-folded.

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Glassblowing was an assigned topic for my book design final project. Since I had no real interest in designing a manual, or an explanation of glassblowing techniques and history, I created a photo book that shows images of people blowing on glass. I juxtaposed the images with actual text on the process of glassblowing. I titled it "Glassblowing: A How To Book" The subtitles for the processes have names that work well with the images and create a different type of narrative. 

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This book is about the women of Weimar Berlin who were infamous for their promiscuity during Germany's economically turbulent time between the World Wars. The cover is silk-screened, the interior pages are laser printed, the signatures are separated by red paper. The color scheme and typography reference the Bauhaus style, which was prominent during the Weimar period. 

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This book is a critical look at Han Christian Anderson's The Little Mermaid. I chose to take this fairy tale and design it for an adult audience by analyzing it from a feminist point of view. On each page, I pulled out an excerpt that has questionable content, and related it to a specific feminist quote on the topic. The call outs alternate up and down to portray fluidity and mimic the rising and falling of the tides, which is important when considering the content. 

Proposed look and packaging for the launch of Real Candy (now Unreal Candy). The company specializes in making natural alternatives of iconic candies. The goal was to stay away from a typical natural food look and to keep it feeling youthful. 
 

I devised a code that involved the intervals between letters in the alphabet and used it to send encrypted letters from famously separated lovers. The project took its final form as a collection of quotations from these letters in postcard form.