I designed Bandcamp's logo and identity in 2008, right as the platform was getting off the ground.

Identity package for Cafe Monk, an iconic San Francisco restaurant, with a family of logos, coasters, business cards, interior and exterior signage, built around a wordmark I set on a vintage Line-O-Scribe proof press.

Adobe's NFL sponsorship had always worked the same way: buy a media placement, put the product next to the game, and hope the audience notices. It wasn't moving the needle, so I made a big play.

In 2022, the agency leading Adobe's brand refresh shared a new icon and wordmark, and a peer and I recognized it at once. It was one of our Future Brand explorations, and its time had come.

A 2008 idea for sharing real conversations as stories, rebuilt in 2026 as an AI tool that protects every identity in the thread.

My role in Studio was on the Brand Expression team. Our remit was the brand and how it shows up. Whether through product identities, events, partnerships, buildings, or activations, we owned it. It was only natural I do the logo for the team as well.

Puma came to Adobe wanting its New York flagship on Fifth Avenue, timed to the Premier League partnership, to do something exciting. So I conceived an experience no static in-store display could.

Gnarrgutts is the debut release from Effective Brushwork, an animation and publishing studio I run with artist Peter Denton. Peter was inspired to create the series after a vivid, genuinely unsettling dream.

In 1996, I named my own design practice design:unknown before it stood for anything visual at all. The name came from a belief I still hold: the work should do the talking, not the person behind it.

I was responsible for Creator Beach at Cannes Lions 2026, which was split into two spaces: the Showcase and Adobe HQ. My team and I developed the look and feel of both, and then I directed the flagship activation.

From 2018 to 2020, I developed and ran Creative Quarterly, a series of live, in-house events for Adobe's creative marketing department.

I originated the horse motif for Adobe Premiere in 1994. Nine years later, I gave it new cinematic life for Premiere Pro 7.

Adobe Summit's visual identity had grown cluttered and disconnected from the Adobe brand system we'd just launched. Corporate Marketing's direction to my team was blunt: make it big, exciting, and future-looking, built around less is more.

The feedback on Adobe's MLB partnership was blunt: it needed a stronger, more visible Adobe presence and a lower barrier into Adobe Express. I took over the 2026 partnership with a clear mandate: make it unmistakably Adobe, and make the product tie-in obvious.

I conceived and produced the sizzle reel that announced Image 3 Model for Firefly, Adobe's generative AI image tool.

The Adobe Founders' Award is one of the company's highest honors, recognizing employees for embodying Adobe's core values. My team and I made it something they would never forget.

I led Adobe Remix, a program that works with artists who push the boundaries of what's possible. After reimagining the program, my team brought on experimental fashion designer Iris van Herpen to kick it off with style.

The Adobe Type team asked me to design a limited-edition poster celebrating 25 years of Adobe Original Typefaces. My concept was to visualize the pages of a book, flat and fanned out, with folios that coincided with the 25 years like a timeline.

Adobe wanted its office environments to reflect its belief that creativity can "transform the ordinary into the extraordinary." My team pushed for graphics rooted in place, local talent, and Adobe's own history.

For years, Adobe's Creative Cloud splash screens followed a systematic, app-by-app formula: an icon, a color, and a connected visual style. In 2013, I built the pitch to reimagine them entirely, sourcing directly from working artists.

Each year, Creative Cloud's product splash screens got refreshed app by app with no throughline. Nothing was broken about that approach, but I kept pushing on whether the splash screens could do more, and be more culturally relevant.

Adobe partnered with Coke and Sharpie for MAX 2025, needing activations and booth designs where each partner brand could coexist distinctly alongside Adobe's own identity. I guided the experiences team to success.

I developed this concept for Adobe's 2022 MLB Postseason partnership, built around one question: what if Adobe and MLB could amplify fans' enthusiasm for baseball while getting them to think about it creatively?

In 2015, Adobe partnered with FEED, the social-good brand founded by Lauren Bush Lauren, on the Make It Challenge, where 3 teams pitched campaigns to win the account. I was the creative mentor, and my group was responsible for telling the story across social.

For the 2021 Velocity Invitational at Laguna Seca Raceway, I conceptualized three options for the event's charity art auction and sold the direction through.

My first design job out of college was working for Winterland Productions in San Francisco, designing concert t-shirts, posters, tourbooks and pins.