Ctrl+Alt+Destroy reimagines the y2k fear as a fighting game, now available to wishlist on Steam. Working with Portland-based Meister studio on their first fully fledged game, I helped shape every design touchpoint across multi-year development, discovering what it truly means to be a multidisciplinary designer.

The challenge wasn’t just honouring late ‘90s aesthetics, it was reimagining that era’s visual language without making it pure nostalgia. All the while keeping development moving within a small studio’s constraints. As design lead under CJ’s creative direction, I jumped between Figma component libraries, UI specifications, visual development, and even web design in Webflow. But more importantly, I had the opportunity to be part of design discussions which allowed product decisions to inform visual concepts and vice versa.

My approach to design meant rapid iteration across different development needs. When developer Harrison D. needed UI assets, I delivered them. When the team needed user journeys mapped, I mapped them. When marketing asked for a new website, I built it. When mechanics needed visual solutions, we explored them together. The result? Positive reception at Steam Next Fest and proof that small teams with the right approach can create something genuinely exciting.

Google's design.google editorial platform highlights amazing work developed internally while participating in the global design discussion. While initially brought on to support Google’s Material Design system in Figma, I always seek opportunities to collaborate with visual storytelling and motion skills across teams, leading to an ongoing collaboration with the design.google editorial team under Beth Abrahamsson’s art direction.

The content and publishing team produces most visual assets in-house while maintaining Google-quality standards across different stories. Each article requires compelling visuals for the web and marketing assets for social media. I help eliminate the usual handoffs between concept, design, and production by working directly with the art director from initial ideation, taking articles from rough concepts through final delivery. Jumping between illustration, animation, and motion design as needed. By handling the full visual pipeline, I help the editorial team produce agency-level work at startup speed.

After a decade of playing acoustic guitar, I still struggled to visualise how individual notes connect to form chords and inversions across the fretboard. I had accumulated years of scattered notes and half-finished attempts at mapping the fretboard’s logic, but existing learning materials either oversimplified these relationships or buried them in visual noise. I needed something different, so I decided to build it myself.

My first attempt at a static visualisation quickly became too dense to be helpful. The fretboard’s complexity demanded interactivity, but my prototypes in Figma, Webflow, and Rive all hit limitations when handling the intricate relationships between notes, scales, and chord shapes due to shifting keys and intervals. This wasn’t just a design challenge anymore. So, I partnered with software engineer Victor Campos, and together we built what my prototypes couldn’t deliver: a focused study tool that transforms how the fretboard reveals its patterns.

The result is deceptively simple: an interactive visualisation that helps me see chord patterns I’ve been playing for years and discover alternative voicings I’d never considered. What starts as a personal learning tool now helps other musicians break through the same barriers I face.

Following major Design Kit updates in 2022, team lead Euphrates Dahout identified a need to clarify our team's role within Google’s UX community. After ADS 2022 (Android Developer Summit), we wanted to share our recent work and findings with the broader team in a memorable way. The challenge was communicating the importance of maintaining a Design Kit at Google scale.

We structured our message around Why (why it matters), How (how it works), and What (what it is), using interactive Figma prototyping to create a “choose your own adventure” experience for Google’s design community. I proposed this solution and crafted the core message, using storytelling expertise to develop an analogy that explains what makes our Design Kit essential. I created the visual language and storyboard, which, together with Ronnie Montoya, we crafted into a prototype and distributed company-wide, then shared on Google’s Figma Community page.

The prototype successfully positioned the Production Team as the bridge between Material Design and internal designers. We received positive feedback from multiple teams, saw increased Design Kit adoption, and reinforced confidence in adopting our tools through our demonstrated expertise in creating an engaging story-driven prototype that demonstrated why teams should adopt our Design Kit with confidence.

During my time as a marketing designer at The Telegraph, I identified an opportunity to build a system nobody asked for, but everyone eventually needed, by equipping designers with illustration as a tool, not just another JPG. The Telegraph is a fast-moving media company where marketing plans shift rapidly with world events, making it challenging to justify investing in systematic approaches when reacting to the latest news is literally the job description.

When I joined, most illustration work was bespoke and created on demand, leading to quality variations and designer overtime. As illustration requests increasingly came to me, I saw the opportunity to treat them systematically. After months of delivering projects, I gathered all the work and proposed an illustration system. Though positively received, implementation was deemed lower priority. Instead of abandoning the idea, I continued developing it alongside regular work, treating each bespoke request as interchangeable building blocks for a larger system.

I created the concept, pitched, and advocated for this system while producing illustrations and setting them up as flexible Figma assets for designers less comfortable with illustration. The result was increased visual consistency across digital and print touchpoints, stakeholder recognition of improved quality, and broader illustration applications beyond marketing into product and print. Colleagues appreciated having high-quality, on-brand resources readily available, and my systematic approach significantly reduced delivery time while maintaining quality.

As Associate Lecturer at Anglia Ruskin University’s Masters in Children's Book Illustration, together with Katherina Manolessou we identified a pattern: talented artists arriving with preconceptions about digital tools that limited their creative possibilities. This course naturally attracts illustrators passionate about analogue techniques who often view digital work as either intimidating or inauthentic. Yet knowing the basics can improve their careers immensely.

Rather than forcing software proficiency, I designed a workshop that removes barriers between students and digital tools through animation. Using my design background, I created step-by-step instructions as an interactive Figma prototype, distributed via a dedicated website, and demonstrated live during sessions. The approach prioritises creative play over technical mastery and allows students to create their first animated GIFs within hours, not weeks.

After four years, hundreds of animations have come out of this workshop from complete beginners, and fundamentally helped shift the course’s culture. Students now arrive open to seeing digital tools as extensions of their creativity rather than obstacles.