I have never designed one kind of thing.
Packaging, identity, broadcast and interactive media, and the creative partnerships that ran alongside all of it.
- —Packaging & product design: brand architecture and go-to-market for OmniGlow's product lines, novelty to medical device, growing a Walmart account from $500K to $7M.
- —Brand & identity design: eight marks, from a children's toy line to a B2B trade fishing brand.
- —Broadcast & interactive media: twenty-three episodes of syndicated wildlife television, then a $22M-backed learning platform used in 400+ colleges.
- —Photography & long-term partnerships: commercial photography direction for long-term clients, and creative direction for Perpetual Groove that hasn't stopped.
The full story is below.
The Walmart account didn't grow itself.
Ten years as Creative Director meant building brand architecture across OmniGlow's full portfolio: packaging systems that had to hold together across dozens of SKUs, retail display and shipper systems designed to planogram cleanly, and the marketing and sales collateral that took the Walmart account from $500K to $7M in two years. Growing the business meant growing the team alongside it: hiring and training the designers and production staff who could carry that volume without me touching every piece. A few of the underlying products, including patent applications later cited as prior art, came out of the same years; the brand and business built around them were the larger job.
That volume ran on global production management: sourcing manufacturing overseas, coordinating factories and packaging partners across borders, and getting a design spec to a retail-ready product on the schedule a buyer set.
Case Studies
None of these marks knows the others exist.
Twinkle had to read as safe to a parent and still hold a peg in a toy aisle: the star took the i-dot and said nothing else. Nimbleslick had to survive one color at any size. EmergencyGlow needed urgency without the visual vocabulary every other safety product had already used up.
Case Studies
The schedule didn't care if the segment was ready.
Twenty-three episodes of a syndicated wildlife program ran on a weekly broadcast clock: logging footage, cutting segments, building motion graphics, and turning the finished reel around for satellite uplink before the next week's shoot started. Editorial decisions happened under that same clock: what stayed in a segment, what got cut for time, how a story got told in the minutes available. The discipline was pacing a broadcast schedule that never paused for a better cut.
That same graphics discipline carried into Eli Lilly's Prozac infomercial, the industry's first long-form pharmaceutical broadcast, where the drug crawl had to stay legible at scan-line resolution and slow enough for the FDA to clear. Then a founding seat at one of the first learning management platforms ever built, structuring interactive modules where Henry Louis Gates narrated a Harlem Renaissance timeline built on the same reusable architecture as everything else on the platform. The architecture was fixed. What it held was not.
That platform work became the foundation for a second career built on using and teaching similar tools in K-12 schools. The full account is in EdTech.
The photography had to become a system, not stay a shoot.
Mestek makes large-scale HVAC equipment, and their shoots happened on the actual warehouse floor: lighting rigs built and broken down on the spot, equipment moved between setups by the crew that ran it every day, no controlled studio to fall back on. Directing meant making those calls in real time, then retouching, writing the copy, and unifying the results into a system Mestek's team could keep using after the shoot wrapped. The work confirmed what had always been true: the writing and the design were the same act.
Perpetual Groove runs alongside all of it, from a fan forum the band posted in themselves to the 20th-anniversary Sweet Oblivious Antidote double-LP reissue we repackaged together. The goal was to add without erasing.
These didn't arrive in a tidy order: post-production before brand work, packaging before digital. What one taught kept turning up in the next.
Brand & Identity
- Logo design and mark development
- Visual identity systems
- Style guide development
- Brand architecture
Packaging & Product Development
- Flexible packaging design
- Retail display and shipper systems
- Regulatory compliance (CPSIA, ASTM, FTC, FDA labeling)
- Global production management
- New business development
- 3D modeling and physical prototyping
- Patent application preparation
Photography
- Commercial shoot art direction
- Product and location photography
- Post-production retouching
Broadcast & Interactive
- Show and motion graphics (syndicated broadcast)
- Pharmaceutical broadcast (FDA-reviewed)
- Web design and eCommerce build
- XML-driven content architecture
Writing
- Consumer and campaign copy
- Clinical and regulatory documentation
- Educational content
Adobe Creative Suite
- Deep proficiency: Photoshop, Illustrator, InDesign, Lightroom
If you need a creative partner who has been inside every part of the process, reach out.
Get in touch