I'll hit the ground running.
Experienced, dependable designer, developer, storyteller, relentless iterator, remote native, mother of two opinionated furballs, and I should probably cut down on my coffee consumption.
I've spent the last 2 decades working across marketing, brand, digital, and experiential design—sometimes leading the work, sometimes contributing to a larger team, and sometimes figuring out how to make someone else's good idea even better. I have a knack for reading the workflow and jumping right into the work.
Whatever the role, I take the work personally. I want to understand what we're trying to accomplish, make thoughtful decisions, sweat the details, and leave my piece of the project better than I found it.
A career, in chapters.
Scenery Production & Scale
Assistant Art Director managing a crew, building high-end corporate parties, massive sets, and interactive immersive environments for major brands like Nickelodeon. I managed people, organized projects, coordinated production, and kept deadlines and profit margins in view while still doing the work myself. When I saw the same pieces being built over and over, I created physical templates that junior staff could use to mass-produce them, freeing senior designers to focus on the work that actually required their expertise.
If we were going to build the same thing twenty times, I wasn't going to make twenty people reinvent it. This, my friends, is systems design at a physical level.
Packaging, Production & Finding My Way Online
The early years
My first job out of college was at a toy packaging company with the licensing rights for Looney Tunes. First studio. First packaging line. First time getting the brutal kerning notes I actually deserved. And, apparently, the first time I learned that it can take 22 iterations to get a simple ball package right.
FMT and LaserEdge Designs, where the work got considerably bigger—and more physical. I built and maintained websites and designed marketing, wrote technical how-to documentation, designed and curated the showroom, worked trade shows, handled and trained clients on the machinery.
It was a very practical education in design: make it look good, make it work, make it understandable, and make sure it survives contact with the real world.
eRealty
My mother and I created a real estate brokerage after working through Prudential as Top Producers, and I took on the digital side of the business—building the website, creating the marketing, and figuring out SEO. It worked. We ranked #1 for "Long Island relocation" and "Suffolk County real estate". That was an early lesson in something that has stuck with me ever since: design doesn't exist in a vacuum. It has a job to do.
Marketing, Communications & Whatever Needed Doing
This was one of those chapters where I wasn't just the designer—I was essentially the marketing and graphics department.
For LINCS and LIAAC, I handled websites from design through ongoing maintenance, along with the full range of communications materials the organizations needed: brochures, marketing pieces, invitations, posters, technical sheets, PPC, and everything in between. I also worked across Project Safety Net and BiasHELP, adapting the work to very different audiences and purposes.
It was becoming a familiar role: figure out what needs to be communicated, make the thing, solve the problem, and keep moving.
Higher Stakes & Leading the Room
At CMinc, I stepped into Art Director and Senior Designer roles on a team of four—which meant there wasn't much room for “that's not my job.”
I handled design across the business: brand and identity, websites and digital, RFPs and long-form documents, marketing and sales materials, packaging, and whatever else landed on the desk. I worked across the full process, from figuring out what something needed to accomplish to designing it, refining it, and getting it out the door.
Small team. Big output. A lot of hats.
Scale, Systems & Making a Lot of Websites.
EverConnect was another one of those places where the title didn't really describe the work.
On the agency side, I produced 100+ websites across branding, design, Webflow development, and conversion, while also supporting EverConnect's own marketing. As the volume grew, I built the components, templates, and reusable systems that made it possible to move quickly without starting from scratch every time. I also mentored the offshore team in India, helping them work within those systems, solve problems, and maintain the quality of the work as production scaled.
It was a different kind of design education: how to maintain quality when the pace is high, how to build systems without flattening the creativity out of the work, and how to help other people do better work along the way.
Independent again. A pretty good chapter.
Back to working directly with clients, agencies, and creative teams. Let's start a project together.
Tools change. Design standards don’t.
Four Things I actually believe.
The brief is usually wrong.
Not because the client is wrong. The brief usually describes the solution someone along the way had in mind, not the original problem they're trying to solve for.
Type is the whole game.
Color is loud. Imagery is louder. Type is what the brand actually sounds like in someone’s head. Spend the budget there, whenever you can.
Make it look like it was always there.
The best brand work feels inevitable. Like your grandfather sketched it on a napkin in 1958 and I just cleaned it up.
Think for the long haul.
Good websites shouldn't fall apart the moment a business grows. Think beyond launch day and build for what's next.
