Clorox needed its Employee Value Proposition (EVP) program to feel energetic and human, showing a company with real personality and room to grow to people who had never set foot in the building.

As visual lead on a small team alongside strategists and copywriters, I owned how it looks and feels. I built the full visual language from the ground up: photography direction, an original illustration system, and custom typography. Stylized photography grounds the work, and illustration adds warmth and play. The backbone is a set of playful shapes built from Clorox’s existing brand blues, nicknamed “Blue-Dads” by the team, which made the system feel native to the company.

Because the program had to live in decks, screens, signage, and large-format environments, I designed it as a flexible system that expands and recombines without losing its identity.

Launched in 2021, it was meant to humanize one HR program. Instead, teams across Clorox kept adopting it, and it became the company’s de facto visual identity, appearing on the corporate website, social media, job boards like LinkedIn and Indeed, and a large-scale Times Square placement.

Visual Lead, Design & Illustration: Myself

Art Direction: Bill Bowers

Copywriting: Jesse Magee

A seasonal packaging concept for Clorox disinfecting wipes, created for an exclusive Holiday 2024 launch at Target. Our team worked closely with Target's sales and marketing group to bring something celebratory and unexpected to a category that rarely gets to have fun.

A handful of designers on our team each pitched their own concept for the project, an open call to think outside the box. As the team's sole illustrator, I was often brought into these innovation efforts to add a distinct, unexpected point of view, and my concept was the one selected to move forward.

The design launched nationwide in Target stores with a major in-store footprint: a fully decorated endcap and nearly a full aisle of product.

Design & Illustration: Myself

Art Direction: Carl Mazer

Outcome: Launched nationwide in Target stores

This project was a major innovation within the Clorox company. Not only was it the first new product they had brought to market in almost 10 years, but it was also an important collaboration between ourselves and the Meredith brand group who owns Real Simple magazine.

Our goal, as Clorox’s in house creative team, was to breathe new life into the outdated Real Simple cleaning line. Although mainly focused on the packaging, we approached this from a ground up perspective. Aside from the packaging aspect we also began to explore how the brand would work as a system; logo, icons, in-store assets etc.

After dozens of renditions we finally landed on a look and feel that aligned with the established Real Simple aesthetic of using bold photography on flat colored backgrounds. We took this idea and evolved and adapted it into a fresh modern approach that focused on the scents and natural ingredients that made up the cleaning formulas. The end result was joyful, fun and engaging.

Design: Myself

Illustration: Myself

Art Direction: Kean Hiroshima & Myself

Photography: Annabelle Breakey

Copywriting: Corbin Cloward & Myself

Kingsford, the century old charcoal brand, wanted to up their game in the merch department. They wanted something ‘cool, but not too cool’. Something that spoke to their core audience in a fun way. They wanted to show that the brand has a playful side. I was just the man for the job.

This group of merchandise speaks to the sensorial pleasures of grilllng. The feeling you get on a warm evening with your closest friends in your backyard, at the beach or in the park, when the smoke mixes with the smell of grass, ocean and laughter.

Now you can take that feeling with you wherever you go and let everyone know that you are ‘cool, but not too cool’.

Illustration & Design: Myself

Art Direction: Lee Fenyves & David Gilkey

Copywriting: Myself

Outcome: Available nationwide via Kingsford website

Another great one with the team at Glad, this time in partnership with Home Depot on a different kind of innovation project. The idea was simple but ambitious: build a line of Glad bags made partially from Home Depot's own pallet wrap waste, letting both companies show real commitment to reducing waste rather than just talking about it.

I worked closely with Glad's in-house creative team to develop a series of illustrations for a short video used across web, social, and in-store displays at Home Depot, walking people through the waste reduction process in a way that felt fun and easy to follow. I partnered closely with the creative director and animation team throughout, building every asset to move seamlessly once it hit motion.

The result gave Glad a truly unique spot in the market, a product with a real environmental story behind it, not just a green label slapped on the front. Turning pallet wrap into something people actually want on their kitchen counter is still one of the more satisfying full-circle moments I've gotten to design for.

Design: Myself

Illustration: Myself

Art Direction: David Gilkey

Animation: Derek Smith

Burt’s Bees, has been a leader in the natural skin care world for almost 40 years. When they approached me to create a line of packaging for their Holiday gift sets for Target I jumped at the chance. Getting to work on such a big project for a household name was, and still is, an honor.

The end result was a magical set of what felt like little treasures. Each set unique in form and design. It was a joy to see this project come to life and see these products hit the shelf.

Over the years we have developed a close relationship and they are one of my favorite brands to work with.

Design: Myself

Illustration: Myself

Art Direction: Carl Mazer

Another fun one with the folks at Hidden Valley Ranch, one of the many Clorox-owned brands I get to work with as part of their in-house creative team. 'Ranchology Rewards' is just one chapter in that relationship. An online loyalty program where superfans earn badges and unlock merch by climbing through the ranks.

I was the sole illustrator on the project, designing everything from the badges themselves to a series of online card games built around flipping and matching for points and prizes. That meant logos, icons, and every individual card, working alongside a creative director to keep it all aligned with the brand.

The card games gave me room to play with tone. Some leaned into popular recipes, others went more playful with a tarot-card vibe, which is a sentence I never thought I'd write about ranch dressing.

What started five years ago is still running strong today. Unique, whimsical and a little weird in the best way. And I'll fully admit to keeping a soft spot for one particular badge, but I won't say which.

Design: Myself

Illustration: Myself

Art Direction: Brian Ho & Myself

Another amazing collaboration between the folks at Burt’s Bees and myself. I absolutely love working with the team over there. They make big grueling projects like this feel like a walk in the park.

Burt’s Bees set out to establish a new line of products for babies and mama’s. This was a massive undertaking that spanned about 8 months or so. Tons of exploration on which animals would best suit each product and what pose would be best for each form. This was definitely a labor of love.

The end result is one of the sweetest, cutest line-up of products I have had the privilege of working on. Unique, whimsical and innovative; all while fitting nicely into the brands existing portfolio. The products themselves are amazing too. We use many of them regularly in our household.

Illustration: Myself

Design: Mariko Harashima

Art Direction: Carl mazer

Outcome: 40+ SKU product line sold nationwide

This was another innovation project done at Clorox. The scent based cleaning line, Scentiva, wanted to update its look to appeal to a younger, more multi-cultural audience. This was basically a rebranding effort, but focused mainly on the packaging. As a designer on this project I was encouraged to take off the guardrails and really explore what could be done.

I absolutely love being given the opportunity to reimagine where a brand might go and to bring it into a more relevant space. My love of typography and illustration gave me a unique perspective on this process and allowed me to bring maximum joy to the table.

Although none of these designs made the final cut, I like to think I helped to form some new ideas within the brand and to allow room for growth in the future.

Design: Myself

Illustration: Myself

Art Direction: Kean Hiroshima & Myself

Copywriting: Julie Gordon

Iconography and infographics do a lot of heavy lifting for a brand. They transcend spoken and written language, letting digital products and printed materials communicate with a global audience at a glance. This is a peek into some of the icon and infographic work I did during my time at Clorox, as part of the in-house creative team across a portfolio of brands.

The goal is always the same, whether a piece needs to help someone understand a process in a few seconds, live comfortably within a brand's visual language, or represent an idea so clearly it doesn't need a caption. Sometimes that means telling someone what a lip balm smells like before they've opened the box. Sometimes it means guiding a shopper through a website without them thinking twice about where to click. And sometimes it just means getting someone from browsing to buying a little faster.

Whether it’s scent and ingredient icons for Burt's Bees, site navigation icons for the Clorox website, step-by-step filter instructions for Brita. Different products, different problems, same job: make something complicated feel obvious.

They're small pieces of design, but they're often the first thing a customer actually understands about a brand, which is reason enough to obsess over a two-inch icon for way longer than anyone will ever notice.

Design and Illustration: Myself

Clorox has spent more than 100 years earning its place as a trusted name in homes across the country, bringing safe, effective cleaning into millions of families' daily lives. That trust mattered more than ever during the height of the COVID-19 pandemic, when families leaned on Clorox wipes to help keep their homes, and their kids, safe.

Back in 2019, I worked with Clorox to develop a Back-to-School packaging system for their wipes, rolled out across a wide range of bundled packs. The idea was to tie the design into STEAM learning, subtly, without turning packaging into a lecture. STEAM is all about hands-on exploration: kids taking thoughtful risks, working through problems, collaborating, and following a creative process wherever it leads.

The result was a design with real shelf presence, one that helped Clorox reach an even larger audience during the Back-to-School season, right as pandemic-driven demand for the product was already at an all-time high. Sales for the line rose 20% during the campaign. Because who says cleaning and safety can't be a little fun?

Design: Myself

Illustration: Myself

Art Direction: Kean Hiroshima

Outcome: Sold nationwide in major chains, 20% sales bump

A collection of personal lettering pieces.

To me the use of lettering and typography is one of the most interesting and varied ways to bring life to a designs and brands. I find it very similar to illustration. Every letterform and style tells a story. Each have their own individual charms and energy.

Exploring these styles is an endless source of inspiration for me. My love for lettering started out of necessity, when I started doing merch work for bands and brands in my early freelance illustration years. From there I had a short stint at the renowned SF based sign painting company New Bohemia. It was there that I really gained an understanding and respect for the craft.

‘Forever bettering my lettering’.

This was a passion project I did back in 2018 at a time I was in between jobs. It’s very important to me to remain inspired and to keep moving ahead.

I wanted to explore what I thought a good beer brand would look like. Given my penchant for mid century design, clean bold graphics and interesting typography what you see is a bold design with a bit of wit and whimsy.

The mascot horse was inspired by Greek imagery, but brought into a mid century aesthetic. The typography choices of an off kilter, stylized black letter form paired with a super clean sans serif gave the brand a unique look, while still being legible. And the color palette is warm and saturated, leaning masculine.

The design system is meant to be super easy to understand, with a predictable rhythm and flow. The colors change across various flavors but placement and hierarchy stays consistent.

Although this was created years ago, it remains one of my favorite passion projects to date.

Art Direction: Myself

Design: Myself

Illustration: Myself

Hand Lettering: Myself

An exploration of logo lock-ups to celebrate the 60th anniversary of Cost Plus World Market. The final asset was to be used company wide including in-store signage, online marketing, mailers, email blasts etc. What you see here is about half of what I produced.

Art Direction: Myself

Design: Myself

Cost Plus World Market's entire reason for being is bringing a little bit of the world home, so during my three years there, in-store storytelling installations were basically the job. We built dozens, maybe hundreds, of these small worlds inside the stores, each one built around whatever region or product line we were spotlighting that season.

This one was Italy. Instead of just stocking the shelves with imported pasta and olive oil, we built a small Italian mercato right in the middle of the store: storefronts, weathered awnings, baskets overflowing with product, and small signs throughout telling the story behind each item and the region it came from.

I hand-drew the lettering for the storefront signage and awnings, aging each piece until it looked like it had been standing in the sun for decades. The smaller story signs were typeset, but we treated them with the same care, warm colors and worn textures that kept the whole space feeling handmade rather than corporate.

Walk through the middle of that store and for a few steps, you were in a market in the heart of Italy instead of a strip mall. That's really the whole job in one sentence.

Design: Myself & Tom Kane

Hand Lettering: Myself

Art Direction: Jeffery Pelo

Halloween at Cost Plus World Market wasn't just a seasonal section, it was a full takeover, and this was one of the biggest versions of it I got to work on. We built it with a small team of three designers, turning the middle of the store into its own haunted little world: endcap signs, aisle markers, hanging signs, even spine graphics running down the shelves, all leading up to a large structural haunted house as the showstopper.

True to how Cost Plus told the story behind everything it sold, the signage throughout wasn't just spooky decoration. It walked guests through the real origins of the holiday: Dia de los Muertos, the story of Frankenstein, even the roots of trick-or-treating itself.

Everything got built, engineered, and tested in our in-house mock-up store before it ever touched a real location, so we could work out the kinks, props falling over, sightlines, how spooky was too spooky, before it shipped nationwide. I was hands-on in engineering and designing the structures themselves, the haunted house included, as well as handling all the illustration and hand lettering throughout the activation, so a lot of that space, both how it was built and how it looked, came straight off my drawing table.

Sales during the activation came in well above average that season, which is always nice to hear, but honestly the bigger win was just walking the aisle and watching people stop and actually look around. Nothing like seeing a kid drag their parent toward a fake haunted house in the candy aisle.

Design: Myself, Tom Kane, Brian Kelly

Illustration and Lettering: Myself

Art Direction: Jeffrey Pelo

Concepts for a poster that would serve to inform and remind employees of Cost Plus World Markets’s goals and objectives. Shown here is small portion of my exploration of styles. The objective was to create a fun and engaging piece that reflected the companies playful and worldly vibe.

Art Direction: Jeffrey Pelo

Design: Myself

Illustration: Myself

Various concepts for a 'Food Facts' program of in-store graphics for Cost Plus World Market. This project intended to tell stories about various global food favorites in a fun and interesting way. The exploration took us through a wide variety of styles, many not shown here. There were very few constraints in this early exploration. The main goal was to capture a shoppers attention long enough to get them to stop and read these signs as they strolled down an aisle.

A big part of my job was in reproducing various styles of print and advertisement throughout history and different cultures. Whether it was ghost signage on an old barn or letterpress printing from the 50’s, I strived to replicate these style and aesthetics in a fresh way that would fit within the existing branded atmosphere of the Cost Plus shopping experience.

Art Direction: Jeffrey Pelo

Design: Myself

Illustration: Myself

Copywriting: Myself

A collection of in-store signage created for seasonal and campaign-driven sections at Cost Plus World Market. Each piece was designed to set the tone for its section and feel as though it had been plucked from a specific time and place — built with hand lettering, custom illustration, and rich texture, and a close attention to historical detail.

Signage was rarely a standalone piece. Most lived within larger systems spanning endcaps, aisle markers, banners, and arches — and in some cases, entire in-store marketplaces built from the ground up.

Art Direction: Jeffrey Pelo

Design: Myself

Illustration: Myself

Hand lettering: Myself

A collection of apparel designs created for a wide variety of clients from clothing brands to world famous musicians. One of my favorite things about this type of work was helping artists such as Paul McCartney, Tupac, Billy Joel and Katy Perry to reach new audiences and expand upon their brand. To date I think I have done over 200 apparel designs.

Design: Myself

Illustration: Myself

Hand Lettering: Myself