Think(er). Creat(or). Build(er).

As Creative Director / Lead Product Designer at EdLogics for the past 11 years, I’ve owned the product design process from early idea through development handoff for a complex B2B gamified health education platform. Getting involved at the problem‑framing stage—clarifying the “why,” understanding constraints, and turning challenges into a concrete, testable direction.

From there, moved through discovery and design: mapping user journeys, defining flows and information architecture, exploring concepts and creating primitive prototypes. Then taking the direction into detailed interaction patterns, high‑fidelity screens, and design‑system components. Throughout, I’ve worked closely with product and engineering to keep the work aligned with the outcomes.

I use AI as part of this workflow to move faster and explore more options through research, generating variations, stress‑testing concepts, and improving communication and documentation for handoff. But the final decisions are always anchored in real user needs, business goals, and measurable impact, and I stay involved through implementation to ensure a shipable product.

Over the last couple of years I’ve gone all‑in on learning how to design with AI, not just design shiny AI features. There’s no formal playbook for this yet, so I experiment with a variety of tools, studying different context‑engineering approaches, and figuring out what actually works... continually keeping up with new AI trends and tools.

On the day‑to‑day side, I use AI for project planning, UX research, PRDs and MVP definition, design exploration, and development support. Tools like Cursor (with MCPs such as Webflow and Chrome DevTools), Claude Code, Gemini, and others help me move from idea to working prototypes faster—especially when I’m building interactive Webflow experiences or front‑end components. On the design side, tools like MagicPath, Aura, Subframe, Kittl, LovArt, Figma’s and Google’s Stitch help me spin up and iterate on flows, layouts, and design systems quickly so stakeholders can react to something tangible instead of a deck. Then taking these designs and React components into vibe coding tools like Lovable, Bolt.new, v0, Chef by Convex, Trae Solo and others to swiftly generate workable prototypes to then bring into Cursor and Claude Code to build back end system.

I’ve also spent time digging into context‑engineering and AI‑driven development methods like the Breakthrough Method for Agile AI‑Driven Development (BMAD), and exploring tools like Specify and Git’s SpecKit. I’m interested less in “prompt hacks” and more in reliable ways to get from problem → spec → implementation with AI in the loop. That extends into automation and infra as well—experimenting with things like n8n, LangChain, vector stores, and modern backends to understand how AI products are actually wired together.

I wouldn’t call myself an expert in every tool, but I’m constantly testing, building prototypes, and shipping real workflows with AI in the mix. The goal is always the same: use AI to reduce friction for users, speed up how teams work, and get to better outcomes faster—not to add complexity just because it’s new. You should see my YouTube AI playlist, Arc AI bookmarks, and Abacus project ideas folder—it’s a bit of a doozy.

I started my career at Thermo Fisher Scientific as a graphic designer, working on just about every kind of print piece you can imagine: global product catalog covers and layouts, brochures, posters, and long‑form publications. I also created illustrations and animations for characters, flow diagrams, and technical concepts, and partnered directly with the CEO and leadership team on keynote decks and collateral for our annual sales meetings—then supported those events on site, running live stage presentations. On top of that, I helped design expo booth graphics, entry experiences, and interactive kiosk UIs.

Since then, I’ve carried that blend of design and illustration into work for brands like Giant Eagle (web design, social graphics, sales promos) and many others. I’ve also had a lot of fun working with several national bands—including artists out of Nashville—on album art, tour posters, and music festival websites. It’s a very different canvas, and it’s pushed my versatility in terms of storytelling, mood, and visual style.

In recent years, a lot of my work has centered on designing and building Webflow sites end to end. I typically start in Relume to map the sitemap and page structure, move into Figma for wireframes and high‑fidelity design, and then build everything out in Webflow—handling responsive behavior, CMS collections, interactions, and animations. That workflow has powered sites for brands like American Battery Solutions, Brayman Construction and its subsidiaries, Villa Tatutina, Beverly’s PGH, Brushes & Beans Cafe, Ratbone Rat Terrier Rescue, and Jukebox Agency, giving me a repeatable way to go from strategy to launched, maintainable sites without a big dev hand‑off.

At EdLogics, I’ve been responsible for the visual design and illustration across the entire ecosystem: marketing site, B2B gamified health education platform, badges and game elements, health infographics for print and web, posters, ads, social posts, brochures, stickers, bookmarks—you name it. It’s given me a deep toolbox for translating abstract ideas into clear, approachable visuals that still feel on‑brand and purposeful.

Over the years I’ve moved pretty naturally between design and development. I started out building things front‑to‑back—Flash games, custom sites, web apps—and that curiosity never really stopped. I’ve worked as a Senior Front‑End Developer at an interactive agency, built production sites and tools in Webflow for the last decade, and shipped a full web app in Bubble.io. Along the way I’ve picked up a solid working knowledge of HTML5, CSS3, JavaScript, basic game mechanics, and how databases and different CMSs fit together.

A big part of my recent work has been Webflow development: taking Figma designs and design systems and implementing them with the Client‑First framework, global components, and CMS‑driven layouts so clients can actually manage their own content. I’ve set up complex CMS collections and on‑page CMS interactions, wired in third‑party tools like Bookingmood for Villa Tatutina, interactive maps for Beverly’s PGH and American Natural, and various APIs and automations via Zapier. I’m comfortable building responsive layouts, testing across devices, and layering in motion—whether that’s native Webflow interactions or GSAP‑style animation—to keep things performant and on‑brand while still feeling alive. I’m also starting to explore Webflow’s Cloud and React‑based apps as a way to bring more bespoke functionality into otherwise no‑code builds, always with SEO, accessibility, and brand consistency in mind.

That experience with code and real‑world codebases shapes how I design. I think about components, states, edge cases, and performance while I’m sketching screens, which makes design‑to‑development handoff a lot smoother. I can speak the same language as engineers, understand trade‑offs, and collaborate on solutions that are not only usable and on‑brand, but also realistic to build and maintain. For me, the goal isn’t to be “the engineer,” it’s to design products that actually work in the real world—using just enough development and automation to de‑risk ideas, move faster, and ship better experiences.

I’ve designed brands for clients across a number of industries—from early‑stage companies that needed everything from scratch to established organizations that needed a refresh or better consistency. That usually means going deeper than just a logo: market and competitive research, exploring multiple directions, then building out the foundations—color, typography, tone of voice, and core messaging—into a usable design system and real marketing collateral.

Beyond new brands, I’ve worked with larger names like Highmark, UPMC, American Eagle, Thermo Fisher Scientific, Brayman Construction, FourOneTwo, and others to keep things on‑brand across campaigns, sites, and products. At EdLogics, I’ve spent 11 years as Creative Director making sure the brand shows up consistently everywhere—from print pieces and marketing sites to blog content, promo videos, and our B2B gamified health education platform.

The goal is always the same: a brand that feels coherent, trustworthy, and aligned with the product experience itself.

Early on at Thermo Fisher Scientific, alongside graphic and game design, I was also responsible for video production and motion graphics. That ranged from traveling to facilities (like our Toronto site) to capture footage of real workflows, to coordinating with production and voiceover teams, and then pulling everything together into clear, engaging final pieces with custom motion graphics.

Since then, I’ve shot and produced video for education companies and events, and at EdLogics I’ve created a range of promotional videos for our company and our gamified health education platform—blending product footage, leadership interviews, and client testimonials into a consistent story. On the product side, I’ve also designed motion assets for our B2B platform, including video banners and lightweight animated AVIFs for dashboards and email campaigns. The goal is always the same: motion that supports the message and helps people “get it” faster, not just decoration.

Early on at Thermo Fisher Scientific I designed Adobe Flash games for our e‑commerce site to drive engagement and promote products. One example was Lab Grab, a Donkey Kong–style game where you play as a scientist battling germs and viruses with disinfectant while collecting Thermo Fisher products to build your lab. I also built a branded putt‑putt game, creating 3D characters in 3D Studio Max and Blender and converting them into sprite sheets. These games ended up being a big win for engagement and retention, with clear month‑over‑month lifts in ROI.

My time at EdLogics really put my game design and gamification skills to work. The platform’s whole purpose is to help people learn about health topics through a gamified experience, so everything is designed around motivation and retention: badges, points, leaderboards, team challenges, and quiz mechanics, as well as full games that teach health concepts in a way that feels approachable instead of clinical. I’m also certified in gamification through the University of Pennsylvania, which has helped me ground the “fun” in actual behavioral and learning principles. I’ve helped shape both the game experiences and the surrounding systems so that the game mechanics genuinely support learning and long‑term engagement, not just a layer of points on top.

3D has usually shown up in my work as a way to make experiences more memorable—whether that’s for games, events, or product storytelling. At Thermo Fisher Scientific, I created 3D characters and assets for sales meetings and expos, as well as game characters for our e‑commerce site, modeling in tools like 3D Studio Max and Blender and then adapting those assets into sprite sheets and animations.

More recently, at EdLogics I’ve used 3D for logos, game assets, and interactive elements in our gamified health education platform, exploring tools like Spline to quickly prototype and refine 3D scenes in a way that still fits within product and brand constraints. I don’t chase 3D for its own sake—it’s another tool in the kit for adding depth, clarity, and a bit of delight when the experience calls for it.