THE PAIN ITSELF

INSERT BLANC PRESS, 2021

Commissioned to create a dust jacket and cover for Insert Blanc’s newest title, The Pain Itself. The dust jacket reflects a literal exploration and the inside cover is an abstraction of a tourniquet. The dust jacket was laid out to act as a sort of poster, an idea expressed by Jan Tschichold in The Form of the Book, where I examined the respective grids for both covers.

What’s in our next LA?

METRO, 2019

Screenshots from an animation that was submitted to Metro before their Our Next LA project was put on pause. I was provided illustrations and asked to create a narrative that would string together Los Angeles County Transit Authority’s spanning rail, bus,  and alternative transportations initiatives.

MidTerm Rally Facebook spot featuring Barack Obama

CALIFORNIA DEMOCRATIC PARTY, 2018

Hired by the California Democratic Party to create motion graphics for their Blue Wave initiative.

NEXT FEST

SUNDANCE, 2017

Sundance approached me about creating a series of advertisements to be used for television, film, web, and social media. They wanted something that would align with their web site direction, including color treatments and glitchy video. One of the challenges of making this was to make several still images work in an animated sequence. I shot my own video of palm trees, LA skyline and the ACE Theatre to avoid any overhead from stock image companies. To get a video glitch effect to work in time with the music, I used VDMX and recorded the effects in real time. This software is generally used by video artists for live performances.

MOPAR

YU+CO, 2016
Created style frames and assets based on client and storyboards. Worked with 3D artist in the generating parts accurate to Chrysler’s vehicles

ASCENSION

PROLOGUE FILMS, 2014

Initially I was asked to simply create a logotype for SyFy Channels new Ascension space drama. The show follows a society that has been in space since the 60s. After the quick approval of my designs, I was asked to animate the logotype, and other elements including lighting up the United States flag.

GODZILLA

PROLOGUE FILMS, 2014

This project started as a simple title over picture. I wanted to create something more, but Kyle Cooper could not allocate time for me to explore ideas. At home, over the course of a few days, I created rough boards that encapsulated the ideas of dinosaurs surviving mass extinction, clandestine coverup, and nuclear weopon testing. It was inspired by a scene in the original 1954 Godzilla and a United States journal called, The Effects of Nuclear War. We presented my idea to Gareth Edwards as an idea he might be interested in and he green lighted it immediately. This title sequence inspired him to reshoot one scene to be consistent with the opening title.

RATPAC ENTERTAINMENT

PROLOGUE FILMS, 2014

Based on a very loose sketch by Kyle Cooper. The logo reveal was to be as dynamic as the movies that followed. I provided Cinema 4D models, 3D cameras, animation direction, and lighting concepts.

DIVERGENT

PROLOGUE FILMS, 2014

Worked with team of creative directors, art director, and 3D animations on typographic solution for title animation. My vision was loosely based on architect Michael Maltzan’s logo animation for the MOMA in Queens, NY. It was pitched using Matthew Carter’s Walker typeface. Even though we didn’t use Walker, the outcome was the concert of bringing everyone’s talents to light.

WESTERN BRIDGE SIGNAGE

LORRAINE WILD DESIGN, 2004

I was asked to make the address visible down the alleyway, with a secondary navigation signifier that pointed to the entrance. Other elements included applying the logotype to a crooked sign out front, uni-sex bathroom signage. and other applications.

SPIDERMAN 2

PROLOGUE FILMS, 2004

Original concept frame that influenced overall direction and respective frames for title.

DAWN OF THE DEAD

PROLOGUE FILMS, 2004

This title sequence is the combination of three designers’ concepts. We mixed supplied scenes of television anchors, politicians, zombies, and real news with our own footage of gnashing teeth, broken glass, cardiograph blips, 3D news graphics, and melting type.

HP YOU

PROLOGUE FILMS, 2003 & 2004

Created the typographic theme for this series of commercials. This was done by following guides given by an already intact vision for the brand. The type was originally centered in frames around the squares as a "destination". This was adapted in animated form sans-frames.

GHOST HOUSE PICTURES

PROLOGUE FILMS, 2003

Commisioned by Sam Raimi, we created a logo and logotype based on Kyle Cooper’s animated vision of a skeleton revealed through a keyhole. This idea was inspired by Sam Raimi’s campy sincere horror movies like Evil Dead.

ANGELS IN AMERICA

PROLOGUE FILMS, 2003

Kyle Cooper and I looked at several ‘Word’ prints, drawings and paintings from Ed Ruscha’s collection, They Called Her Styrene, as typographic inspiration for this dramatic trailer. We chose audio from a courtroom scene featuring Al Pacino, and highlighted words that would resonate with the theme of the series.

PRACTICUM

CALIFORNIA INSTITUTE OF THE ARTS, 2003

This is a collaboration with my MFA classmate Jae Hyouk Sung. The initial goal was to create one poster announcing a schedule of five artists’ lectures. Because the school did not have a complete schedule, we saved a calculated number of posters and overprinted the names of the new lecturers over previous posters. The school later added a sixth artist (poster 5) after the first three posters were printed. We confiscated posters while corresponding lectures were in session to complete the series.

MICHAEL MALTZAN

CALIFORNIA INSTITUTE OF THE ARTS, 2002

Michael Maltzan is the architect that designed the interior of the temporary MOMA in Queens. He also created sculptural typography for the top of the building. The logo appears broken/out of proportion, until the viewer passes it on a train. This inspired the  Divergent (2014) main title reveal.

Taken

CALIFORNIA INSTITUTE OF THE ARTS, 2002

My first year at CalArts, we were asked to invent a subculture that might not exist, and create a 'look' for it. My subculture was joy-riders, or people that steal cars, drive them around and return them. My form came from taking existing advertisements from both print and broadcast media, take the car out, and have fun with it. This video was a Nissan car commercial. I worked with the ad in two environments of the car removed. The car is removed with static in the background, as if it were cut out of video and static remained. In addition, I took the removed car and put it in a static environment.