Projects

Zebra stripes as a metaphor for choice: everyone wears it their own way. The campaign splits that into three acts. Choosing make-up on a phone, walking a lit Z-shaped runway, crossing an ordinary zebra crossing.

The key visual is not a separate banner project. It is frames from the film, dropped into brandbook templates. One shoot, many placements, no extra production.

Four characters cast entirely generatively, with a character sheet so the same face returns in every shot. Ages twenty to sixty, different looks.

At a trade show a salesperson gets two minutes and a paper catalogue that weighs what it weighs. It cannot show a kit where products connect, and it cannot tell you afterwards what people actually looked at.

I built a tablet app that runs without internet and, once the show ends, hands back a report on visitor behaviour. The catalogue is bilingual, switched with one tap.

At one brand people entered through the product grid, at the other through the kit strip. The same engine revealed two different behaviours. Paper cannot show that.

My own brand, run from the mark through covers to merch. Red and black, raw typography, a logotype built on a strike-through.

Here I own everything: the name, the mark, the cover system, the videos and the live materials. It is the only project where I am both client and maker, so the decisions run without compromise.

Not a band business card, an extension of the record. Dark frame, grain, a figure in fog. The site carries the same tension as the music it announces.

Built in Framer, from design to publication without a developer. Video backgrounds, scrolling sections, room for singles, shows and studio takes.

Two FMCG brands, one scalable process: research, storyboard, styleframes, animatic.

Frugo Wild Punch leaned on nineties nostalgia, eight-bit styling and glitches. Black Energy got a rigid grid that pulled every message into one late-night energy narrative.

Four named directions: cinematic casual, city predator, trail conqueror, techwear. Each with its own light, framing and typography.

The name of a direction is a tool here, not decoration. In a meeting you defend a sentence, not a picture.

Twenty-five pieces from e-commerce campaigns: key visuals, packshots, social formats and seasonal banners.

All built on one component system, which brought a fifty-banner pack down from three and a half days to one and a quarter.

Fourteen clips across six years: social formats, product campaigns and generated material.

Motion has to stop the thumb and move the number. I animate for the platform, the format and the campaign goal, not for a showreel.