The creative leadership complex organizations actually need, built on 25+ years of brand strategy, integrated campaigns, branded experiences, and making the work land.
I've built a reputation not just for output but for how I get there. I listen harder than most.
I translate the messy middle between strategy and execution. I've earned the trust of stakeholders who aren't easy to win over from CEOs at Fortune 500s to the world's most demanding brand teams by showing up as a partner first and a creative director second.
My mom taught me to think of others first and to chase my creative passion. Grateful for her support, I poured myself into building my craft, graduating with an Honors degree in English from SUNY Buffalo and training at Miami Ad School as an AAAA Minority Scholar and Best of Show winner. What followed was 25+ years of rolling up my sleeves, learning to do more with less, and building things with people I love. The work earned recognition, but what I'm most proud of is the trust it built. I lead with a service-first mentality: my clients' priorities are my priorities, my team's success is my success. That approach doesn't just make the work better. It turns clients into advocates and one-time projects into long-term partnerships.
Over the years and at different organizations, my teams have consistently had high morale, low turnover, and punched above our weight at producing award winning brand identity systems, integrated campaigns, consumer education programs, motion graphics, video, experiential events, and digital platforms. Thanks, Mom.
When I joined Freddie Mac as Director of Creative Services, I inherited a small production team focused mostly on execution. What exists today is something entirely different: an integrated in-house agency that can ideate, design, write, shoot, edit, animate, and build anything with the Freddie Mac brand on it, we own it.
I believe the strongest partnerships and teams are built on trust, opportunity, and the genuine belief that everyone in the room has something worth hearing and it's okay to have bad ideas on our way to great solutions. In a Fortune 50 company with competing priorities and complex stakeholders, that's not a soft skill. It's the whole game.
I've proven time and time again that great creative work doesn't require bottomless budgets or massive teams. I've built creative teams and operations that deliver world-class work while staying true to a company's mission and values. I'm drawn to organizations where creativity serves a purpose beyond the bottom line.
Freddie Mac operated with multiple competing visual identities. Single-Family had one look. Multifamily had another. The Freddie Edge, Loan Advisor, and other sub-brands all fought for attention. Presentations used inconsistent templates. Websites looked like they came from different companies. Conference materials bore no relationship to digital properties. The brand had no center of gravity.
The brand refresh was not a design problem. It was an organizational alignment problem. We engaged research teams, business line leaders, the senior operating committee, customers, and the CEO. Mid-project, we switched CEOs. The work nearly stalled. But the system we had built proved resilient enough to survive leadership transitions and strong enough to earn buy-in across every stakeholder group. We did not just refresh a logo. We established a single source of truth.
We aligned the brand around our mission: to help more families move into homes. The brand became about people and homes, celebrating those who help make our mission possible. The house chevron communicated Freddie Mac's role to create stability, liquidity, and affordability.
The website transformation showed the brand system at work. What had been fragmented, inconsistent, and difficult to navigate became unified, purposeful, and clear. Every page expressed the same visual language. Every interaction felt like Freddie Mac.
A brand system only works if people can use it. We created a comprehensive brand portal housing refreshed brand guidelines, template libraries, photography collections, icon sets, color palettes, typography standards, and downloadable assets. The system was designed to scale across the entire organization without requiring constant creative team involvement.
The Single-Family system centered on the house chevron in blue, establishing a clean, confident visual language for lenders, real estate professionals, and homebuyers. The system scaled from digital interfaces to printed collateral to large-format environmental graphics.
Multifamily required differentiation within the unified system. We introduced green as a secondary color and developed an isometric house device that spoke to apartment buildings and rental housing. The result was a sub-brand that felt distinct but unmistakably part of the Freddie Mac family.
The campaign spoke directly to first-time homebuyers who felt priced out and overlooked. The tone was energetic, specific, and empowering — not sympathy, but strategy. Here's what you can do. Here's your move.
TV spots, digital pre-roll, social content, and search — each execution met consumers at a different stage of their journey. The video achieved 2x the click-through rate of benchmark at one-third the CPM.
Vertical display units ran across digital platforms with real people, specific actions, and zero corporate speak. Each ad spoke to a different pain point — renovation budgets, financial stress, affordability — and offered a concrete next move.
Social posts gave people real resources — checklists, tips, ROI data, Q&A — without the dry tone of traditional financial education. The content performed because it was actually useful, and because it looked nothing like what you'd expect from a financial institution.
The Your Move TV spot won an Emmy Award. Proof that consumer education content produced in-house, inside a regulated financial institution, can compete at the highest level of the industry.
The GIFerator ran as a full multi-platform experience — desktop, tablet, and mobile — streaming live game data and fan-generated GIFs for every NFL game of the season. Fans could follow along in real time, share existing GIFs, or build their own custom trash talk on any device.
The real strategic punch: when the Packers scored against the Vikings, real-time trash-talking banner ads appeared on sites being browsed in Minnesota. Score updates, quarter, time — all pulled live and baked into the creative. Clicking the ad didn't take you to a Madden purchase page. It took you to the GIFerator, where you were invited to make your own trash-talking GIF and fire back. The ad was the experience, not a door to it.
The engine generated endless combinations of players, copy, and animation. Every one shareable. Every one on brand. The ads beat official NFL score updates in real time.
AdWeek called it "one of the most innovative digital ad products of 2014." Fast Company, Mashable, Digiday, Bleacher Report, the Washington Post, Fox Sports — everyone covered it. Not as an ad. As news.
Fans didn't just share it — they remixed it, wrote it into a Madden Bible, turned NFL team accounts into GIF machines. GIFerator trended on Tumblr, spawned its own subreddit, and earned a permanent page in Know Your Meme history.
Disney's Corporate Alliances team manages partnerships across the company's business units, including its theme parks. When Disney partnered with Kimberly-Clark's Huggies brand, the ask was clear: amplify the No Baby Unhugged campaign, build brand loyalty, and drive diaper sales. This work mattered because it connected commercial goals to something genuinely meaningful: the science of touch and the emotional foundation of parenting. When creative work serves both business and humanity, it resonates deeper.
The creative challenge was finding an insight powerful enough to unite two of the world's most iconic brands around a single idea. We found it in science: hugs leave a lasting impact. Research showed that hugs make children happier, less anxious, and more resilient adults. And Disney's entire universe decades of beloved characters shaped by love, connection, and family was built on that same truth.
Every beloved Disney character has a hug at the root of their story. We didn't need to invent a connection between Disney and Huggies. We just needed to make it visible.
Campaign posters featuring Disney's most iconic characters reimagined as infants each paired with a line connecting the power of a parent's hug to the character's defining trait. Baby Sulley from Monsters, Inc. became the visual for courage. The creative system worked because every Disney character had a hug at the root of their story. We just made that visible.
The creative system stretched from digital hub to physical environment because the idea was strong enough to hold.
Posters appeared in Disney parks and on kiosks along the walkways. Stroller riders received custom Huggies character cards. The Winnie the Pooh Hug Hold Wrap let parents literally wear the campaign. Every touchpoint said the same thing: the hug is the product.
HugsBuildCharacter.com converted every digital hug into a diaper donation for families in need. Each one a real act — and a real diaper for a baby who needed it.
The omni-channel campaign ran at Disneyland and Disney World. The campaign gave Disney a new lens on its own IP, gave Huggies an emotional platform strong enough to compete with Pampers, and gave new parents a reason to feel something the next time they reached for a diaper box.
The brief was to improve perception, relevance, and engagement for the world's biggest tech show. The insight changed everything: people must feel something in order to act.
CES had a problem hiding in plain sight. Its marketing looked exactly like every competitor's drones, tablets, screens, the latest gadget. In a category defined by technology, showing technology had stopped working. I audited the landscape and found the opening: nobody was showing how it felt to be there. The science backed it up behavioral research confirmed that emotional response drives decision-making far more than facts. We built the entire campaign on that truth.
Year one, I helped HZ win the pitch with the original Whoa campaign: human faces, open-mouthed wonder, zero tech in frame. It worked. CES came back for year two. The campaign went omnichannel: out-of-home across Las Vegas and the airport, digital banners and emails, in-flight media, direct mail, environmental takeovers at the show, and a 50th anniversary microsite celebrating decades of innovation.
Before attendees ever reached the convention center, they saw the campaign. Posters appeared throughout Las Vegas and McCarran Airport, featuring diverse faces caught mid-"whoa" with headlines like "Innovation begins with a single word," "Where seeing is unbelievable," and "Discover what excites you." The campaign met people where they were and pulled them in.
Online banner ads and email campaigns carried the same unmistakable "whoa" moment. Headlines like "Innovation begins with a single word" and "Yep, the impossible just happened" reinforced the emotional hook. The email campaigns drove traffic to CES.tech and kept prospective attendees engaged throughout the registration period.
A "registration is open" direct mailer hit domestic and international prospects, driving them to the digital hub at CES.tech/getready. In-flight seatback screens targeted tech enthusiasts already en route to Las Vegas. The media insight: if your audience is flying to the biggest tech show on earth, reach them before they land. The campaign met attendees exactly where they were.
Giant wall murals at C Space showed "Where brands collide" split across panels. Column wraps throughout the Las Vegas Convention Center stood 30 feet tall. Full building takeovers extended the campaign beyond the main floor. 180,000 attendees walked through it. The campaign didn't just promote the show, it became the show's environment.
We created a 50th anniversary microsite that took users on a decade-by-decade journey through CES history. Vintage TVs showed "whoa" moments from each era, with headlines like "We brought color to a world of black and white" anchoring the 60s. The interactive timeline let users explore how CES shaped innovation from the 1960s to today. It honored the past while celebrating what's next.
We even created Whoamojis: custom emoji-style icons capturing different "whoa" expressions in the campaign's geometric shapes. The brand system included logo variations for tech east, tech west, and tech south, allowing CES to extend the identity across regions. The creative platform was designed to work at any scale, from a digital icon to the side of a building.
A specialized one-day event focused on AI and computer vision in housing. The theme was "Housing Intelligence." The key visual played on the intersection of human insight and machine capability. Simple. Modern. Strategic. Stage design, digital assets, web presence. Agency work would have cost $40K minimum. We delivered for a fraction of that because we didn't need discovery. We knew the business, the audience, and the message.
The visual system worked everywhere. The house/hand/phone metaphor scaled from web headers to stage backdrops to social assets. Clean, conceptual, professional. Exactly what the business needed without unnecessary layers of process or expense.
Hosted on the Freddie Mac campus in McLean, this summit needed to balance purpose with polish. The theme: "Doing Well / Doing Good." The visual language used the Freddie Mac Multifamily color palette (green, blue, orange) and the house chevron to create a modular system that worked across stage design, environmental graphics, swag, and digital touchpoints. An agency quote for this scope would have run $80K to $120K. We did it in-house because we understood the Multifamily business unit, the brand architecture, and the stakeholder expectations.
The brand system was flexible enough to scale from badge holders to 10-foot environmental graphics. Everything felt cohesive because we built it that way from the start. No guesswork. No revisions from stakeholders unfamiliar with the work. Just efficiency, quality, and brand consistency.
Single Family's flagship conference. First live event since the pandemic. Austin, Texas. November 2025. The creative theme: "Where Loan Stars Meet." Texas is the land of myths and bigger personalities. Everything is bigger. Which made it the perfect place to celebrate our lending partners in a Texas-sized way. The "Loan Star" concept worked because it elevated our partners while keeping the Freddie Mac brand at the center. Stage design, trade show booth, interactive touchscreens, breakout graphics, badges, lanyards, swag, digital campaign assets, the full ecosystem. This is the kind of conference work agencies charge $300K to $500K to execute. We delivered it for significantly less because we didn't need to learn the business or build trust. We were already there.
The theme was so successful that Single Family is repeating it in 2026. Same location. Same creative platform. That doesn't happen by accident. It happens when the work connects with the business and the audience in a way that feels authentic, strategic, and built to last.
Over 100 commercials across a decade, each one built around the personality and relatability of the players. Torii Hunter crashing birthday parties. Joe Mauer recreating the classic Mean Joe Greene Coke spot. Johan Santana and Joe Nathan bickering in a car about changeups. T.C. Bear preparing for life outside the Metrodome. The spots made fans fall in love with the people wearing the uniform, not just the logo on it.
"Piñata": Torii Hunter surprises a young fan at a birthday party and takes "swing for the fences" a bit too literally, smashing the piñata with his bat to the shock and delight of the kids.
"Souvenir": Joe Mauer pays homage to the iconic Mean Joe Greene Coca-Cola commercial, tossing a young fan his jersey as a keepsake after a game.
"Natural Habitat": T.C. Bear awkwardly tries to adapt to his future outdoor home, foreshadowing the move to Target Field with comedic charm.
"Sandlot" (Super Bowl 2008): Shot during Target Field construction, this regional Super Bowl spot featured players playing baseball in the construction yard like scenes from the movie Sandlot. It built anticipation for the new stadium and signaled a new era coming.
"Paul Bunyan": Perhaps the most iconic spot in franchise history. Future Hall-of-Famer Jim Thome leans into his Midwestern "strongman" persona by portraying the legendary lumberjack Paul Bunyan, complete with a giant blue ox (Babe) and a flannel jersey.
When the campaign launched in 2005, the Twins were facing declining attendance despite on-field success, and there was little public hope for a new ballpark. The work didn't just sell tickets. It restored pride in the team and built the grassroots momentum that helped secure funding for Target Field. By the time the new stadium opened in 2010, the Twins were drawing over 3 million fans a year. The campaign successfully bridged the transition from the Metrodome to Target Field, keeping fans engaged through construction and turning the new stadium into something the entire state felt ownership over.
I directed over 100 Twins Territory commercials across the life of the campaign. Even after I left Periscope for another agency, they brought me back to continue directing the work. That kind of continuity is rare in advertising, but it's what happens when you build trust, deliver consistently, and treat every spot like it matters. This 10-year relationship is one I'm most proud of.
From brand strategy and integrated campaign concepting to motion, video, digital, and experiential production, built and led in-house, at agency quality, at a fraction of the cost.
Award-winning work across the industry's most respected creative stages.
Google, Nike, Disney, EA Sports, Red Bull, Pepsi, Target, Best Buy, Hilton, Harley-Davidson, Minnesota Twins, Jockey, CarMax, Taco Bell, Samsung, GoPro, 3M, Arctic Cat, Buffalo Wild Wings, Post-it, Red Robin, Rust-Oleum, Freddie Mac, Papa Murphy's, Mastercraft, Truvia
Senior creative leadership roles, consulting, and speaking engagements. Let's find out if we're a fit.