Designing worlds people step into — from broadcast stages and brand activations to film sets built deep in the forest. Work that lives in physical space, moves through a camera, and spreads across social.
I led graphic design for GMA's Deals & Steals — one of ABC's highest-performing segments — redesigning the visual identity twice, building the full design system, and templating everything so the team could produce daily episodes at scale without starting from scratch.
The work spans brand identity, broadcast graphics, segment-specific design, lower thirds, and on-stage visuals that perform in front of a live studio audience.
Design, system, template — all three: Every graphic was designed, built into a repeatable system, and fully templated for production use. That's what allowed the look to stay consistent across hundreds of episodes, two shows, and years of daily air — and why the templates are still running today.
The Evolution — Before & After
Before — Original
The polka dot era
Flat, dated visual system. No cohesive identity across segments. Blocky type with no scalable graphic language.
Rebrand — Designed & Templated
Bold hot pink system
High-impact, fully templated. The team produces every episode without touching the core design.
Rebrand — Designed & Templated
Royal blue variant
Same system, different colorway — showing the flexibility built into the template architecture.
Broadcast to Stage — The Experiential Layer
The graphics aren't just for screens. Every element was designed and templated to translate to the live studio stage — backdrops, on-set signage, lower thirds, and product display graphics all working as a cohesive physical brand environment in front of a live audience.
Live on the GMA stage — branded backdrop, product tables, full set environment
On-air broadcast — lower thirds, price displays, and QR codes live on GMA3
Special Segments
Beyond the core system, I designed and templated custom graphics for themed events — each one built to be reusable while feeling fresh and on-theme.
Labor Day Power Hour — themed starburst treatment, purple-to-blue gradient system
Earth Day / Spring Skincare — seasonal editorial treatment with illustrated botanicals
Templates Still in Use — 2026
The system I designed and templated continues to power every Deals & Steals episode airing today — years after the original build.
Current on-air episode — June 2026. Still running the templates I built.
While at Organic, I developed and art directed an experiential campaign concept for Zyrtec built around a large-scale floral installation in high-traffic public environments — airports, transit hubs, and commuter spaces where allergy sufferers move every day during peak season.
Instead of leaning into the dread of allergy season, the concept reframed it entirely: what if pollen was the most beautiful thing you'd see all spring?
Concept note: This was developed as an AD/strategist pitch during my tenure at Organic. Zyrtec later launched a floral experiential campaign built around these same strategic objectives — immersive environment, social amplification, and UGC at scale.
The Pitch
3D booth render — the physical installation concept with cascading floral canopy
Instagram UGC mockup — pitch deliverable showing organic social behavior and hashtag traction
Experience Elements
✿
Immersive floral environment
A walk-in moment of color and positivity — designed to stop people mid-commute
☀
Social-first design
Every detail built to be photographed, shared, and remembered
☙
Relief on the go
Sampling and product education in a beautiful, unexpected place
♠
Influencer & UGC amplification
Driving awareness and engagement across social channels
The Final Campaign
Zyrtec launched a full floral experiential campaign that brought these pillars to life — immersive branded environments, influencer seeding, and a social-first design built to spread.
Final campaign — Zyrtec Pollen Pop-Up at Union Square, NYC
Feature Film · Art Department · 2014 Production / 2016 Release
Captain Fantastic
Art Department Production Assistant — Set Dressing, Prop Making & Building, Set Construction, Illustration, Photo Editing & Character Research Directed by Matt Ross · Starring Viggo Mortensen
Set DressingProp MakingSet BuildingIllustrationPhoto EditingCharacter Research
Cannes — Won Best Director, Un Certain RegardKarlovy Vary — Won Audience AwardNational Board of Review — Top Ten Independent FilmsOscar Nom — Best Actor (Viggo Mortensen)Golden Globe Nom — Best ActorBAFTA Nom — Best Leading ActorSAG Nom — Outstanding Cast
Cannes 2016
Best Director Win
7+
Major Award Noms
Viggo Mortensen
Lead Actor
Matt Ross
Director
The Work
Working directly with the production designer and art director under director Matt Ross, I contributed across nearly every facet of the art department — from helping build and dress the off-grid forest compound to hand-drawing wildlife illustrations that became set dressing inside the family's converted school bus, Steve.
I was part of the team that built and dressed every major environment — Steve the bus, Zaja's woven hut, the family tipi, the main cabin, and the greenhouse built from salvaged windows. I also made props for multiple scenes throughout the film and edited the photographs that appear in-world as set dressing.
Total world-building: I drew the artwork pinned to Steve's walls, hand-built ritual and scene props from natural and found materials, sourced and helped construct physical structures, edited photos that lived in the film's world, and conducted deep research into real off-grid communities to make every detail authentic.
Roles & Contributions
Set Dressing & Painting
Dressed every major environment — Steve the bus, Zaja's hut, the family tipi, main cabin, and outdoor spaces. Sourced, placed, and aged every object to feel authentically off-grid and lived-in.
Prop Making — Multiple Scenes
Made props for several scenes throughout the film — including the ritual head installation built specifically for Zaja's hut, constructed from bones, feathers, twigs, animal skulls, and found natural materials.
Set Building
Part of the team that physically built all major structures — Steve the bus conversion, Zaja's woven nest hut, the family tipi, and the greenhouse constructed entirely from salvaged windows.
Illustration & Photo Editing
Hand-drew all wildlife illustrations — deer, birds, beaver, squirrel — that appear as art in Steve and throughout the sets. Edited all photographs used as in-world set dressing across the film.
Steve — The Bus
Steve is the Cash family's converted school bus and the film's most iconic set piece. I worked on the full interior — photo collage walls, maps pinned to the ceiling, the hand-drawn wildlife illustrations, curtains, bookshelves, and every detail that made Steve feel like a real family home in motion.
Steve's interior — photo collage wall, maps on ceiling. The wildlife drawings pinned here are ones I drew for the production.
Full interior of Steve — bookshelves running the length of the bus, wardrobe, speaker, nautical curtains throughout.
The Forest Compound
The off-grid compound required building and dressing multiple structures deep in the Pacific Northwest forest — Zaja's woven nest hut on stilts, the family tipi, the main cabin, and the greenhouse built entirely from salvaged windows.
Zaja's hut — hand-built woven nest structure on a stilted platform in the forest.
The family compound — tipi alongside the main cabin. BTS shot mid-production.
The salvaged-window greenhouse — finished on film.
Interior bookshelf scene — finished on film.
Zaja's Hut — The Ritual Head
The ritual head installation was built specifically for Zaja's hut — constructed entirely by hand from bones, feathers, twigs, animal skulls, pine cones, and found natural materials, designed to feel like something Zaja would have made herself over years of life in the wild.
Build in progress — bones, feathers, twigs, and found objects assembled on a burlap backing.
Installed inside Zaja's woven hut — photographed on set in the finished structure.
Illustration — Hand-Drawn Set Art
I hand-drew all the wildlife illustrations that appear throughout the film — pinned to Steve's walls, tucked into shelves, scattered through the living spaces. Every drawing was created to feel like art the Cash children had made themselves.
Wildlife illustrations — deer, squirrel, owl, raccoon, birds. All hand-drawn for the production.
Set dressing — all environmentsSet paintingProp making — multiple scenesSet building & constructionHand illustrationPhoto editingCharacter & world researchOff-grid community research
