I led creative direction, design systems and production development for Google Cloud Summits, a global program delivering more than 25,000 assets annually across 30+ countries. The work connected brand identity, digital campaigns, motion and live-event content through a flexible framework designed to support varied formats, languages and regional requirements.

By rethinking the systems behind the work, I brought responsive design, structured content, automated workflows and team development into a more connected production model. Between 2023 and 2025, this helped reduce agency production overhead by more than 50%, while improving consistency and giving the team more time to focus on creative craft.

As Technical Design Director at Apparent, I led the UX/UI overhaul of Stan's web platform, spanning acquisition, marketing, account creation and payment journeys. Working from discovery through to engineering handover, I established a modular, fluidly responsive design system that could support an evolving product and be introduced progressively alongside existing components.

The work connected clearer user journeys with reusable layouts, interactive prototypes and practical documentation, giving design and development teams a more coherent foundation. Following a subsequent brand update, the core architecture, components and journeys remained in production, demonstrating the lasting value of a system designed to accommodate change.

As Technical Art Director at Inspace, I led a distributed team of around 25 3D artists and product designers across Australia and Thailand. Working on 3D Stack, a browser-based digital twin platform for commercial real estate, I combined team leadership with hands-on technical direction to meet growing demand for interactive property experiences.

I led recruitment and accelerated onboarding, rebuilt production around a modular Blender pipeline, and helped introduce clearer project scoping. Together, these changes established a predictable five-day production cycle per Stack, aligning team capacity, delivery expectations and commercial requirements while maintaining the visual quality and performance needed for real-time browser rendering.

I led the UI/UX design of Byte Size Quiz, a competitive web application developed for IBM's two-day TechXchange AI Summit in Sydney. Brought into the project within a compressed timeline, I worked alongside an internal developer to turn an additional event concept into a finished interactive experience.

The five-minute quiz invited attendees to test their knowledge, compete for the highest score and follow their position on a live leaderboard, with a prize awarded to the winner. My focus was on making the experience straightforward to understand and use within the conference setting, supporting participation across both days of the event.

A selection of advertising projects for Optus, spanning campaigns featuring Ricky Gervais, Usain Bolt and Australian Olympic and Paralympic athletes. Working closely with creative direction and production teams, I contributed to concept development and translated early ideas into detailed digital paintings, storyboards and pitch presentations for broadcast and digital media.

My involvement ranged from initial visual exploration through to production-ready sequences, helping communicate the creative approach and establish references for directors, animators and production teams. These projects represent part of a broader body of Optus campaign work, combining illustration and visual storytelling to support ideas from presentation through to execution.

I led the creative direction of a comprehensive brand and digital redesign for DataStax, working with a multidisciplinary team across visual design, motion and development. At its centre was a modular geometric language derived from an isometric grid, providing a shared foundation for the logo, iconography, illustration and wider identity.

The system extended across hundreds of assets, connecting the redesigned website with digital communications, animation and 3D. By moving between flat geometric compositions and dimensional forms, we developed a flexible visual language that could retain its character across different applications while giving the team a coherent framework for ongoing design and production.

I contributed to concept development and production visualisation for a Coca-Cola advertising campaign featuring the distinctive artwork of Australian illustrator Mulga. Working alongside the creative and production teams, I helped explore how the campaign idea could unfold as an animated commercial while retaining the character of the supplied visual style.

My contribution centred on storyboards that established the sequence, composition and progression of the film. These translated the developing concept into a shared visual reference, allowing the team to discuss how individual moments connected and how the artwork would move through the commercial ahead of animation and final production.

I led the initial creative and technical development of a customisable 3D asset system built around Android's Bugdroid character. Starting with a rebuild of the existing production models, I developed a flexible, rigged character that could support varied creative applications while providing a consistent foundation for further development.

Working with a team of 3D artists, we expanded the system into a library of branded characters, animations and physical merchandise, including custom variants for Google's partners. The work also explored early concepts for a personalised Bugdroid experience, with the resulting assets supplied to Google for continued use across Android communications and partner initiatives.

I led the creative development and produced the majority of an animated commercial for Corporate Traveller, exploring how AI-assisted production could support a tightly constrained budget and timeframe. The work combined AI-assisted modelling, procedural workflows and hands-on 3D animation, with additional support for final editing, motion graphics and sound production.

Following the campaign, I developed an independent experimental advertisement built around the strengths and limitations of generative AI. Together, the two pieces explore different relationships between creative judgement and emerging tools: using AI to support an established production process, and allowing its capabilities to inform the concept from the outset.

I led the UI/UX design of Cricket for Climate's website, bringing together the user experience, interface design and a distinctive visual approach for the initiative. My involvement also extended into the broader brand development, connecting the digital experience with the identity and supporting visual assets.

The project combined accessible web experiences with motion and interactive 3D elements, creating opportunities to communicate through both clear page design and more expressive content. Working across these disciplines, I helped shape how the initiative appeared and behaved online, contributing to the website's visual design and the production of 3D assets used within the experience.

I led digital design direction across Volkswagen Group Australia's portfolio, including Volkswagen, Audi, Škoda and CUPRA. Working within established global brand frameworks, I oversaw design quality, audited existing systems and identified opportunities to improve consistency and production efficiency across the brands' digital communications.

The work included rebuilding email design systems, refining reusable components and introducing website modules where global brand and platform requirements allowed. My role balanced the distinct needs of each brand with shared operational standards, combining practical system improvements with ongoing design oversight to support consistent delivery within a complex international organisation.

As a technical art and digital design consultant, I developed real-time 3D assets and visualisation systems for Rocos's robotic fleet management platform. A central component was a modular library of lightweight industrial environments, combining reusable assets with optimised scan data to create digital twins without relying entirely on resource-intensive LiDAR point clouds.

I also modelled commercial and conceptual robots, including Boston Dynamics' Spot, and developed workflows connecting robot telemetry, real-time environments and recorded drone footage. The work extended into animated product demonstrations and marketing content, with selected footage subsequently used in Boston Dynamics' communications.

I developed concept illustrations and storyboards for an Adidas advertising campaign and its associated experiential activations. The work explored how early creative ideas could translate into both a commercial and physical brand experiences, providing visual material to support discussion and development before final design and production.

My contribution included storyboards for the film and illustrations of proposed installations and audience experiences. These gave the team a way to communicate ideas across different formats, showing how a sequence might unfold on screen and how an activation might be encountered in person, while keeping the work open to refinement as the concepts developed.