Skills & Capabilities
- Wireframe Production, Mood Boards, UI/UX Design
- Local Build Systems (NPM, Grunt, Gulp, Sass, Less, Bootstrap, Tailwind)
- Vector Illustration, Traditional Art, Digital Painting, and 3D Modeling/Rendering
- Brand Asset Creation, Logo Design
- Video Editing, Animation, and Publishing
- Front-End Development (HTML, CSS, JS)
Software Collection
- Adobe Creative Suite (Photoshop, Illustrator, Premiere, After Effects, Audition, Xd, InDesign)
- Google Suite (Docs, Sheets, Slides)
- Substance Painter
- Affinity Designer, Photo
- Unity 3D
- Blender 3D
- Figma
Wisdom Shared
- Nothing beats a well thought-out content strategy or research document.
- Communication is priceless. Leave no one behind on a project’s journey.
- Be willing to critique, and be open to being critiqued.
- Love your family. Love your team. Love your clients.
- Never stop learning.
Crafting Interface Designs
I begin all of my design work with the same model: Ideate, Sketch, Wireframe, Design. It's particularly nice when a content strategy can be done with the client in tandem.
If there is a brand established, then the current logo and colors can help establish the mood that will bridge the wireframes with the high-fidelity designs. Typically, there will be levels of iteration or change until it feels right. Once the designs are complete and approved, they can then be handed off to a developer (which is often a role I take on as well).
My tenure as a designer extends over two decades, along with a great deal of growth, styles changes, adjustments in technique, and trend-watching (I tend not to follow trends too closely).
I have worked with such companies as: White Mountain Research, OneFire Media Group™, Caterpillar Inc.®, State Farm® V1. Worldwide, DevBright, Inc., and EZnet Services.
Constructing Logos
Companies, products, individual marks, and even podcasts can all benefit from an impactful logo to help support the brand. These can range from solid typography, to clean lines in Illustrator, something a bit more painterly, or even a character.
One of the first jobs I ever held was at a custom printing shop, where I had the opportunity to clean up logos that would be transferred to film. Since then, I've stuck with the same core philosophies: Ensure that the art doesn't become muddy at small sizes. If it had text, make sure that it's readable at various distances, and start the work in b&w, even if it ends up in color (this helps keep the contrast in check).
