This is my commercial Design & Motion work up to date with samples from clients that range from the Art Director's Club to Comedy Central, BET Networks, Centric and Showtime. I've included student work created while taking School of Motion's Bootcamps. My tools of the trade are Bustelo Coffee, Adobe After Effects, Photoshop, Illustrator and Cinema 4D.
Some of the key skills showcased in my reel are:
For day rate and availability, feel free to contact me.
These are image-driven Network IDs I had the great opportunity to work on for BET's sister network Centric. The first ID featuring moms and their daughters earned us a nomination for a 2016 Promax BDA in the Best Art Direction/Design category.
All images and footage were processed, cleaned up and animated in a way that fit the re-designed fresh look of the network.
Client: MTV Networks
I was the lead animator for MTV’s TRL comeback on 2017 and worked on the entire campaign and show package with MTV’s internal team under the animation direction of Jen Epstein. The animated promo pieces were all over Times Square, NYC. There were also animated bumpers for different sections on the show.
The campaign won Bronze at the 2018’s ADC Awards.
SVP Design: Thomas Berger
VP Design: Rich Tu
Art Director: Sasha Safir-Temple
Design: Hernan Ayala, Christina Nahas, Lindsey Chizever, Moross
Lead Animator: Dorca Musseb
Animators: Adrian Alexis, Magda Baez, Chloe Rose Bush, Jen Epstein, David Fiddler, Yonju Kim, Ethan Mackin, Blake Morrison, Oscar Rivera, Brendan Roche, Weixi Zeng, Moross
Logo Animation: Joseph Perno
Senior Producer: Ross Jeffcoat
Producer: Tim Gendimenico
Client: BET Networks
While collaborating with designer/animator Luis Moya for the New Edition Story Show Open, we were asked to bring back the throwback of New Editions's album covers. Using Cinema 4D, Photoshop and Illustrator, I worked on the albums "All For Love and "Under the Blue Moon". The artwork we created is more of a modern, nostalgic take of the albums themselves rather than an exact replica.
Included on this page is a video of the process for recreating the "All For Love" cover that goes from Cinema 4D into Photoshop and finally into After Effects. There's also sample storyboards for the "Under the Blue Moon" cover that didn't make it into the Show Open. :( "Under the Blue Moon" is a heavy composite of several different images in Photoshop to get the needed stylized look the piece required.
Client: BET Networks
This was a really fun project to work on. My role was to composite the first half of the spot. We used After Effects tracking and masking to composite the shots while heavily giggling throughout the entire process.
Art Director: Dana Kinlaw
Animation/Compositing: Luis Moya & Dorca Musseb
Client: Art Director's Club
This initiative aims to make women's role in the design industry more prominent. It has been one of my very favorite projects to volunteer for.
Learn more about
the Art Director's Club 50/50 Initiative
Read a feature about
the 50/50 Initiative in the Huff Post.
Read my one-on-one interview with the ADC.
Read my member-to-member interview with fellow
motion graphics designer Rachel Nye Levine.
During School of Motion's intense 6-week course, Animation Bootcamp, we were all challenged to produce work based on animation principles as they pertain to motion graphics specifically.
These are some samples of my favorite assignments.
Assignment 1: Pong Challenge
Assignment 2: The Circle Society
Assignment 3: Nüdl
Assignment 4: Step Three
Assignment 5: Dog Fight
Client: Comedy Central
Gabriel Iglesias Show Open for Season 2 of his Stand-Up Revolution Show was completely built from the ground up. This project came with the added challenge of 3 musts: MUST have the VW Bug, MUST travel from point A to point B and lastly, MUST have his friend Martín included somewhere within the open.
Three different narratives were created and the second story line was picked by the clients. From there, style frames for the look and feel of the piece were built. Once a style had been chosen, stills were shot on green screen with the talent.
Following the photo shoot, the cleaning up process started as well as the creation and break down of the pieces for animating the backgrounds, the talent and all other creatures and people seen in the final version.
After this, I teamed up with Brandon Campbell to cover the considerable amount of animation needed for the final product. As extensive as this project was, it was an amazing opportunity and a great learning experience since it extended my skills to include a wide range of roles including directing the photo shoot with the talent. It was a lot of work, but a lot of fun and I'm thrilled with the end result.