Graphic Designer
Design Bootcamp was less about making polished final pieces and more about learning how to find the right visual voice quickly. Every assignment started with a different brief, a different tone, and a different audience, so the real work was figuring out what the project wanted before getting precious about style.
That was the value of the class for me. One project asked for a loud, street-level show open. Another needed a cleaner, more restrained science look. Others leaned into horror, music, sportswear, tech, or ads. The constraints kept changing, which meant the design thinking had to get sharper.
Most of the work lived in boards, title frames, and styleframes. Not finished films, but the stage where the visual direction actually gets decided. That made the course a good pressure test for concepting, composition, and building a point of view fast.
Designed boards and title frames for a Fox dance show set around head-to-head battles in Tokyo.
Built title slides for a NASA TV promo with a more restrained, high-tech visual tone.
Created opening and end title frames, plus transitions, for a horror trailer later accepted into the Boston International Film Festival.
Boarded a 30-second spot for a Diesel-hosted festival with a louder, more graphic energy.
Designed a short social-first logo reveal built to land fast.
Created boards and offer-page concepts for education and telecom ads with very different audiences and priorities.

Built mood boards and offer-page concepts for Sprint's Unlimited Data campaign, targeting a different audience than the education work.
Built styleframes for a concept-driven IBM spot centered on city systems and urban innovation.
Built styleframes for a concept-driven spot centered on music's role in storytelling.
Art - Patrick Flaherty
Selected Works























