I was approached by Vuori’s internal team to create a set of social posts for their New Year’s Day campaign. The deliverables were a :15 and :30 designed to 3 pixel aspect ratios.

Vuori was surprisingly new to animated content, but was amazing client.

For the majority of 2022, I was a contract Motion Designer for the Dev Platform Marketing team. They had planned the CHIRP Develop conference to happen in November and I was brought on to handle all the animated assets for the promotion of the event, the animated assets for the live stream; as well as the post event video archive. I animated, concepted, and art directed all the work shown. The event ended up being canceled two weeks before the date in November but I’m quite proud of all we achieved. I also worked on social campaigns for the Dev Platform as well as content for their video franchises.

In early 2022 I collaborated with GoPro to create a 30 second social ad for the release of their Enduro Battery. When I received the job, the edit was already nailed down and I added the type animations over it, as well as the logo animation at the end.

Teamed up with the nice folks at Mercenary Creative Group to animate a :30 TV commercial for their Cash in the Can campaign for the California Air Resources Board. They were redesigning the brand mascot and wanted to give him more life. I wanted the dance sequence to have a really fun and uplifting vibe so I took the time to animate the main character, Artie, frame by frame. I was also tasked with doing all the green screen comping and delivery of the final piece with balanced audio, etc.

I partnered with the Honey Agency to produce this PSA for the California Department of Public Health. This was a different kind of project for me, because I was able to use traditional frame-by-frame animation mixed with typical 2D after effects based animation. Our task was to spread awareness on the hazards of Zika. 

Honey Agency was lead on providing the script and art direction, while I developed storyboards for the idea execution and how it tied into their script. I originally recorded my wife as a scratch track to edit to, but the client ended up liking it so much that we used it in the final.

In the end, this project left me feeling inspired and confident that I could produce more PSAs while interjecting my personal style into them. It was an amazing relationship builder for the Honey Agency and I also. They appreciated me being able to deliver a relatively fast paced turnaround fun, colorful video and continue to work with me on various projects,

Select animation from Wired Magazine's Snapchat Discover channel. Half of them are illustrated/ concepted by myself while the other half are animated by myself using stock illustrations because of a rushed deadline. Wired published twice a week so for three days out of the week I was responsible for 6+ :10 sec animations. It was challenging at times to deliver this volume and run them through the Wired process, but greatly sped up my illustration/ animation process.

I was fortunate enough to be asked by art director Peter McBride at Patagonia to animate an explainer video on Patagonia's new recycle program "Worn Wear". The larger piece was cut down to two :30 socials and subtitled out.

This was part of the initial launch so it had to be visually stimulating while keeping in line with the brand guidelines and on key with the established art direction.