Telling stories is perhaps my primary task, professionally. One of the biggest tools in my storytelling toolkit is my ability to put together words and pictures in engaging, fun, and surprising ways. Smart subject matter demands smart animation – this era of peak TV continues to push us farther and higher.

I made my bones as one of the first few hundred people in the world to master the Quantel Harry, the first digital non-linear motion graphics and compositing workstation. Next came Henry, then Flame, then After Effects and Cinema 4D. Tools come and go,

but what remains constant is my ability to use those tools and others to create meaningful and on-brand motion messaging for my clients.

Check out my latest reels and let me show you what I’m all about, motion-wise. You’ll find I have a fairly broad range of styles. My motion reel combines animation, titles, infographics, menus, and transitions. I also have some editing projects at the link below.

Logo design is one of my specialties, and one of my all time favorite project types. Nothing I do in this business gives me more pleasure than absolutely nailing the brand ID and logo for a client.

The ability to understand a brand and translate it to the public in an appealing, unique, spot-on way is somewhat akin to learning a foreign language fluently and teaching it effectively.

Take for example my work on The Price Is Right logo. I reworked and redrew it in 2007 (as a herald of the new Drew Carey era), but people think it’s original to the show, from sometime in the early 70s. In fact, this is the first native digital version – previous versions being scans of sign painting. So, starting from scratch, I did a fresh drawing of the lettering. I threw out the outline and opened up the letter spacing a bit, redrew the dollar sign, and added the “swinging door” backing elements.

Show logos, marketing type lockups, product end tags – I’ve done a few. Sports marketing and design and now clothing (cycling in particular) is a passion, and I’ve recently plunged headlong into restaurant marketing and menu design.

See my Process and Pricing Kit for Logo Design (link below) to learn how I work, and work to give you the best results. There is nothing easy about deciding on a new marketing or logo designer. The proliferation of cheap (largely foreign) logo mills hasn’t made getting quality work any easier, but this kit should help.

As in any plan for attack, any blueprint for building, a storyboard is essentially a tool to get something done. Duh. You already know that, and you’re likely here to see how I can fit into your plan, storyboard-wise. Or maybe you’re just meandering through these sections, admiring the scenery.

That’s good too. Truthfully, when my Publicity Team initially asked me to write something on this section, I bristled. “Just show them the pictures,” I said. “You know the old ‘a picture is worth 1,000 words’ thing, right?”

But they persisted, insisting I talk about how adding a unique perspective to a pitch will increase chances of getting that job by 84%. About how important it is to avoid following trends too closely at the cost of becoming a lemming and painting your project with a big brush of mediocrity.

“Swing for the fences,” I insisted. Yes, now we’re talking. Need something just a little different on that pitch you’re working on? You’ve come to the right place. Oh yeah – that sign I’m designing for you? I’ll show you just how it looks in its environment. In short, I’ve got a plan, a blueprint, a storyboard!

Yes they are. Wait what? I’m just answering the question you’re thinking. Blu-ray discs and DVDs are still very much around. I co-built and served as EP/CD of DVD & Blu-ray Design+Authoring at CBS (more on that in my BIO). Besides the superior picture and sound quality of Blu-ray especially, the streaming services’ continued fumbling (or just ignoring) of extras

(including behind the scenes, deleted scenes, commentary, etc.) and their impersonal one size fits all navigation will ensure the continuation of these formats if audio- and videophiles have anything to say about it.

I’m not here to debate the future of discs, but to show samples of my work on these titles. To show how I solved some of the issues, design-wise. I’ve said it elsewhere, but we really raised the bar on menu design on CBS titles after establishing CBS D+A. Click through to MORE PICTURES and I’ll show you some before/after case studies.

The fairly newly (comparitively) codified UX doctrine describes “delight” as a key ingredient in great experience design. Well, that’s something good screen designers have always used as a guiding principle, and not just on interactive screens. In addition, humor (amusing, comic), and good humor (mood), are key ingredients to a delightful experience.

If you’re a Netflix, Amazon, Hulu, Apple or other streaming service looking to explore options to break away from the cookie-cutter, one size fits all approach to navigation, I have some ideas. Let’s talk.

In my various capacities as either Art Director or Creative Director, I’ve had the chance to work with some super talented designers, illustrators, and animators. The group of frames I present here are mostly from my time at CBS D+A, and feature work from the very talented Kathy Jaroneski, Chris Williamson, Michelle Liu, Greg Sheldon, and Ray Bravo.

I’ve been lucky to work with these and other talented designers from the AD/CD side of things, and also serve on the other side, as a designer, working for other AD/CDs. Having worked on both sides, I know the importance of being in synch with each other, and value the arts of listening and communication.

These samples show the superior work produced under my direction, and I’m very proud of them and the designers. Having other talented people around makes me look good and I can rest easy knowing a title is in their capable hands.