MOST OF MY PROFESSIONAL WORK HAS BEEN DONE UNDER STRICTLY CONFIDENTIAL NON-DISCLOSURE AGREEMENTS.
FOR MORE INFORMATION ON MY PROFESSIONAL PORTFOLIO, PLEASE CONTACT ME DIRECTLY.
THE FOLLOWING WORK IS CURRENTLY OPEN TO THE PUBLIC.

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HAGRID’S MAGICAL CREATURES MOTORBIKE ADVENTURE

THEA AWARD RECIPIENT: OUTSTANDING ACHIEVEMENT, 2020
This has been one of my absolute favorite projects to date. I was involved in the design process for Hagrid’s Magical Creatures Motorbike Adventure from the very beginning of the Blue-Sky development phase. My work started with being a key in-house consultant for all things related to the Harry Potter intellectual property, such as cross-referencing lore, and generating specific aspects of the lateral content that guests see in the ride today. This process also included highly iterative concept sketches, reference-gardening, storyboarding, and creating vignettes of new key-scenes and queue propping elements as the design progressed. One of my favorite assignments was working-out different poses and locations for the Unicorns we now see at the end of the ride. When the attraction moved into the concept phase, my focus was shifted to queue design and inciting narrative. I prefer a very hands-on approach, so I first did several site walks of the property, both guest-facing and otherwise to assess the existing facility we had to work with, and see how much of it could be salvaged for design purposes. From there I drew up concepts for each section of queue to propose ways the team might be able to progress the story and reassess guest flow while also being budget-conscious. Many of these base-concepts still remain in the final design. As the attraction started construction, I was requested to design the mural content for the interior queue. For this I worked closely with MinaLima and Alan Gilmore to generate a style that was true to existing IP content, while also creating something fresh for the attraction. This was a surprising challenge, because achieving this actually required me to essentially unlearn my typical dedication to detail and shift the design language to lean more minimal and playful. I was constantly reminded of Picasso’s quote “It look me four years to paint like Raphael, but a lifetime to paint like a child”. He wasn’t kidding, getting out of your own artistic headspace is HARD! This project also required consistently cross-referencing source material and analyzing subtext within the franchise to create believable content for the murals. The challenge proved worth it though, because now I get see my paintings exactly as I designed them every time I walk through that queue. I took this work to heart and really wanted to pay my own personal homage to Dueling Dragons/Dragon Challenge, which was the very first coaster I ever rode (Blizzrok, if we want to be specific). I did so by leaving the words “Dueling Club” as a cheeky Wizarding World reference to the once mighty dragons that dueled here long ago, framed by two rather familiar looking serpents. This reference has been praised and identified by many nostalgic fans and bloggers as the bittersweet homage they feel the iconic coasters deserved.

UNIVERSAL’S VOLCANO BAY

THEA AWARD RECIPIENT: OUTSTANDING ACHIEVEMENT, 2019
My experience on Volcano Bay was almost exclusively dedicated to the design and concept fabrication of large-scale prop installations. Most specifically, this applied to designing a style for different carved wood elements throughout the park. I produced iterative concept sketches bases on Polynesian and Maori cultures and visual languages to develop a series of “war boats” and canoes to represent the separate villages that were integral to the park’s narrative. Each boat had their own theme: Wave Village, River Village, Rainforest Village, and one combining all of these villages into an entry statement. Throughout the design process we determined that each village would have its own “mascot" totem animal that would feature heavily in that area. Once my concept designs were approved, I modeled each in 3D to create assets for our woodworking vendor to work from. Each of the village boats can be found displayed high above the heads of guests at their corresponding locker areas. The main boat that symbolized all the villages coming together is located at the entrance to the park for the purpose of ticketing and reception, as one of the first pieces of iconography to greet guests on their arrival to Volcano Bay.

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THE WIZARDING WORLD OF HARRY POTTER: DIAGON ALLEY

THEA AWARD RECIPIENT: THE INAUGURAL PARAGON AWARD, 2015
My contribution to this project leaned heavily on the skills of scenic painting, prop production, and compositional prop installation. I was tasked with practically decorating several props that were later installed within Diagon Alley’s interactive window displays. For this I referenced and reproduced approved artwork by MinaLima, much of which was used as direct inspiration to realize magical creatures from the Wizarding World throughout the land. Examples of my assistance in compositional propping exist within The Magical Menagerie and Wiseacres shops. Before Diagon Alley’s opening day, I also edited promotional art for Wiseacres, Weasleys’ Wizard Wheezes, The Hogwarts Express, and on-ride POVs for Harry Potter and the Escape from Gringotts for public and marketing use.

COMING SOON: TOOTHSOME CHOCOLATE EMPORIUM & SAVORY FEAST KITCHEN

UNIVERSAL’S CITYWALK, HOLLYWOOD
Concept art I produced was used to sell the architectural design to company stakeholders and executives. Now that the design phase is complete and approved, I can’t wait to see how the Universal team brings that same vision to life. It’s definitely strange to see the Hard Rock Cafe stripped clean, but visiting CityWalk during a global pandemic was a whole new level of surreal.

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SKULL ISLAND: REIGN OF KONG

This is another project that I began in the Blue Sky phase. As an intern I was tasked with drawing some of the first concept sketches for Skull Island: Reign of Kong. These sketches were later developed into high quality key art for stakeholder presentations and executive approval. I also produced storyboards exploring several different narrative concepts that helped to determine the final treatment, as well as scene vignettes for screen placement and marking the action within each scene. When the project moved into the Concept and Schematic phases, I collaborated with our in-house Show Set Designers to adorn the queue with stone appliqués and sculpted “spooky dudes” (I got really good at drawing skulls). We then transformed those concepts into scaled elevations and rockwork samples. If you’ve had a seat on a stone bench outside Skull Island: Reign of Kong, the chances are high you sat on one of my drawings.

TRANSFORMERS: THE RIDE - 3D

For this project I assisted the graphics team with mocking up various decals that were to be used for theming the outside of the soundstage housing the attraction, as well as some interior walls in the queue. A second phase of this work was applying and integrating the final cladding designs for the facility exterior to landscape photographs taken from the park to visualize what the final product would look like. A minor responsibility related to this was identifying the Pantone and color codes to be used on the main sculpture of Optimus Prime at the attraction entrance, as well as incorporating the sculpture’s final pose into the previously mentioned concept renderings.

SPONGEBOB STOREPANTS

In the development of the retail space Spongebob Storepants, I generating concept sketches and color board samples for the overall styling of the facade. In a later phase of development, I designed a small queuing area for the meet and greet opportunity located within the store. In addition to this, I provided graphic design mockups for signage, animated poster art, and frames throughout the store.

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SIMPSON’S SPRINGFIELD: MOE’S TAVERN

THEA AWARD RECIPIENT: OUTSTANDING ACHIEVEMENT 2017
Springfield was my very first assignment as an intern. I assisted this project by collaborating with a Senior Designer to style and furnish the interior of Moe’s Tavern to make it as screen-accurate as possible. During the process, we realized that our design for the designated space was just shy of our intended seating capacity, which was largely due to the very large and cumbersome prop billiards table at the center of the room. I suggested that we turn the table 90 degrees, cover it with a transparent top, and add benches for seating. The team loved it, and it instantly became the coolest seat in the house. Before the project went to schematic, I produced colored key art of the space for phase approval.