Seven years on AWS's global event program — re:Invent, re:Inforce, Summit, and the Machine Learning Summit. Started as a visual designer and was promoted to Motion Art Director, owning visual and motion direction across keynote screens, signage, broadcast, and merch. 50,000+ in-person attendees a year, 10+ venues.

One of five keynote broadcast packages I designed for re:Invent week. Each keynote ran a slightly different colorway on a shared motion language — same system, different temperatures across the week.

For Monday Night Live I designed the on-screen logo, art-directed the stage look-and-feel with the production vendor, and packaged the motion for handoff. Vendor took it to broadcast finish.

Dedicated motion channel piped to attendee hotel-room TVs throughout re:Invent week. For the 50,000+ attendees not in the keynote room, this is how they followed the conference — live keynotes when broadcasting, a daily-refreshed motion package between them with schedules, recaps, and venue info.

I designed the master, produced each daily refresh, and packaged it as Motion Graphics Templates (MOGRTs) so production vendors could swap content live without ever opening After Effects.

re:Invent grew from a single conference into a year-round, multi-channel design operation. Each year ran a different brand system but the underlying motion templates, broadcast infrastructure, signage standards and web design & development stayed consistent. I helped scale that core so the same operation could handle a new visual language every twelve months without rebuilding from scratch.

The harder problem was building motion templates and signage guidelines that other designers and agency partners could ship from without me on call. Each year we saw an excess of 7,000 deliverables across every channel.

The re:Invent visual identity: gradient-led, type-forward, built to flex across signage, broadcast, and digital. Production Club led the brand. As Motion Art Director I directed its motion expression through animation language, transition logic, broadcast-ready templates — across signage, info kiosks, breakout-room IDs, and the keynote stages both large and small.

The cyber security conference.

re:Invent but bite-size The AWS Summits are a global developer conference with all the same big names and similar structure of branding and deliverables.

An amazon technology conference showcasing the latest in Machine Learning, Automation, Robotics and Space.

A small online and in-person event targeting specific niche markets like healthcare, government and education.

Internal annual event for employees and vendors to plan the year ahead.

Developed a base animation background that was used for broadcast graphic templates, social media and web assets.

Event identity and B2B/B2C marketing for Microsoft's developer tour — multi-city stops across America and Europe. I built the visual system so each city could be re-skinned per stop without a designer in the loop, and shipped collateral for the full tour run.

Designed UI/UX, branding, and motion for enterprise cloud products (Power BI, PowerApps, Dynamics 365). Created hero animations, templated marketing assets, and cross-channel campaigns that simplified complex data/tools for business users.

Visual design for the Dynamics 365 refresh — hero animations, marketing pages, and a new templated architecture used across the product marketing site. The component-driven approach replaced one-off page builds, so other designers could ship from the same kit.

Launch design for Business Platform — Microsoft's unified marketing story for Dynamics 365 + Office 365. I designed the hero motion system (apps as cubes on a shared grid, working together) and helped land the centered product-in-device layout that became the campaign template.

Our early iterations included an animation of cubes in the hero for a more abstract representation of the product. The animation showed different applications on the same grid working together to elevate our users’ businesses. For the layout, we tested centered and left-aligned approaches before collaborating with product owners and managers to land on the centered product-in-device approach you see in the hero mockup.

Led visual touchpoints during largest rebrand: parallax web experiences, motion idents, traveler personas, 404 error flows, and inflight content. Delivered cohesive storytelling across digital/print/event channels.

Inflight entertainment ident bumps across the Alaska fleet — intro and outro for every onboard film, plus a custom bumper for the SIFF Cinema Selects × Alaska short-film program. The constraint: motion playing on a screen inches from a captive viewer, looped on every flight, every day. The brief had to read as soothing, on-brand, and replayable — never intrusive.

Analysts had generalized years of traveler data into six separate segments, identifying statistics and unique differences within each. When I joined the project, the challenge was simple: How do we present this data with ease and delight? To create a more customer-centric atmosphere, I developed baseball-card-style personas. UX designers, developers, project managers, stakeholders, and all Alaska employees now have access to these cards plus an A4-size PDF with in-depth persona information.

A redesigned 404 page built to turn a dead-end into a brand moment. The page rebounds with a thoughtful tone and a clear way back into the booking flow. Gallery shows the iteration arc — copy partner on tone, design feedback on layout, and the final approved direction.

Real-time road conditions, live DOT cameras, and summit temperatures for 134 mountain passes across 30 US states and 2 Canadian provinces. Designed in Illustrator, art-directed end-to-end, and shipped solo via AI-assisted build. Live in the App Store under my own LLC.

Six CRT theme presets — green, amber, blue, pink, plum, white — with scanlines, glow, and a blinking cursor. The aesthetic call was deliberate: people open Pass Checker briefly, often in low light, before a long drive. The retro-terminal feel makes the data read fast and confident instead of generic.

I sketched the UI in Illustrator and shipped to the App Store with no engineering team. AI handled implementation. I handled product, brand, motion, copy, and every design decision in between.

Self-published print magazine. I designed the editorial system — grid, type hierarchy, spread logic, print spec — then ran every issue against it. The subject matter was personal interests; the underlying interest was building a system tight enough that production could move fast without losing rigor.

Broadcast packages, idents, lower thirds, and experimental motion — pulled from event work and personal projects. Most of these were one part of a larger system; collected here as standalone artifacts.