I grew up in a coastal village with no television. My first attempt at motion design was animating song lyrics on a church projector until they pulled me off the job. A few years later I'd started a design business, taught myself After Effects from a bootleg eBay copy, landed my first international client (a Mexican chiropractic company), and was pulling passive income selling motion backgrounds to churches worldwide. All before I could drive.

Most of my career since has been in rooms where the clock is loud and the work has to hold up. Live broadcasts, tight approvals, zero tolerance for sloppy structure. That's where my style came from. Typography-first motion, strong composition, clean timing, and restraint when restraint is the smarter flex. Two Emmy Awards. Visual systems for NBC, CBS, and A+E. A youth travel brand I co-founded that reached 1.2M people a month. A nonprofit I built from nothing to a $764K operation serving hundreds of Vermont families. Teams of 5 to 23, led locally and remotely, across 20+ countries. The throughline: build something that reaches people and changes how they see what's possible.

Outside the studio, I shoot travel and landscapes. Vermont trails. Iceland winter roads. Morocco at dusk. Photography keeps developing the instinct I rely on most — composition. That eye started in foundation courses at SCAD, got pressure-tested across a decade of live broadcast, and shows up in everything I design. The same discipline applies to how I build workflows. Selective AI, small automations, fewer avoidable revision loops. Not chasing trends. Protecting clarity and keeping craft intact.

The work is below. Calm, direct, and built the same way every time: vision first, people always, hands never far from the work.