Director, Storyboardist, Production Designer, Creative Director, etc.
Thumbnail sketches and finalized shots
Lead Production Designer
This was my first time working as the lead production designer on a film that wasn’t my own. Set in a post-apocalyptic wasteland, I focused on using visual clutter to communicate what had been left behind. With a tiny budget, I sourced the majority of the props from my own home—which worked out, since my interior aesthetic already leans that way. The set featured a lot of obsolete analog technology, like old TVs, as well as in-universe printed materials. One of the biggest challenges was dressing existing locations instead of working with a blank set. Without the luxury of pre-planning, I relied on my design instincts to build immersive environments on the fly. I collaborated closely with the lighting team to create depth and atmosphere in otherwise static spaces. The experience pushed me to think on my feet and gave me a deeper appreciation for the craft of production design and set dressing.
Lead Graphic Designer and Assistant Production Designer
As an American Film Institute (AFI) student thesis film, Love Cycle was a large-scale production compared to my other projects at the time. As lead graphic designer and assistant production designer, I was responsible for developing the film’s visual identity system before shooting even began. This included the key art, logo, type treatment, social media assets, and promotional materials for a fundraising campaign. The aesthetic was inspired by Los Angeles Chicano punk culture, which shaped the entire visual language of the project. During production, I designed in-universe posters for fictional punk bands, which were used to dress the protagonist’s bedroom. After filming wrapped, I created the Blu-ray cover for AFI and had my key art featured at the TCL Chinese Theatre in Hollywood—an incredibly rewarding moment.