I seriously started my journey with content creation on TikTok in late 2020. Experimenting with the art of short-form video content for the first time, I gained 145k followers in less than three years. I expanded to Instagram next and grew to over 85k followers in a little over a year. Now I create both UGC and Influencer content for brands like Logitech, Soylent, Sebastian Professional, JVN Hair, The Oddie, and more.

Here is my highlighted work as a staff character animator on Richard Linklater’s film Apollo 10 1/2: A Space Age Childhood. I drew in-betweens, keyframes, and color references along with cleaning up the rotoscope animation. While working at Minnow Mountain, I was asked to fill in for my team lead when needed, which included tasks like assigning and approving shots. Once my initial contract ended, I was asked to continue on a smaller skeleton crew to create and place background assets.

Working with Ami Plasse as the animation supervisor, we used rotoscope animation to create five 1-minute videos for the banking tech company Nymbus Labs.

Google Fiber commissioned me to create five background designs for their 2021 Leadership Summit. The conference was virtual this year, so I digitally illustrated backgrounds for the 120+ attendees to use over Google Meet.

A mix of work make through Procreate, Photoshop, Illustrator, and traditional mediums like charcoal, screen-printing, and watercolor.

This is a collection of logos I have created, ranging from industries in real estate to music to hair styling.

This is a collection of scenic painting projects completed under Michelle Fullerton at the Alley Theatre.

This window display design was showcased in Austin’s 2nd Street District at Hemline. Our team had a $500 budget and two weeks to design, build and install in time for the winter holiday shopping season. This project was on display from Thanksgivings ‘18 until New Years ‘19.

There’s a fine line between chaos and absurdity. And it just broke.

Marisol by Jose Rivera at the Mary Moody Northen Theatre.

Set Designer and Charge Scenic Artist: Hailey J. Strader

Director: Liz Fisher

Photographer: Jessica Attie

This is a collection of marketing designs made for various events hosted by the Arts and Humanities Department at St. Edward’s University.

This is a conceptual rebranding project for Austin’s Barton Creek Greenbelt. After intensive study and research, I designed, printed, and bound an informational book on the Greenbelt’s past with patches to launch it into its future.

This is a collection of scenic painting projects completed under Karen Maness at the Texas Performing Arts Center.

As the set designer for Frozen Jr. at TexARTS, I rendered, built and painted the set in under three weeks.

When does a dangerous idea become a heinous crime? My project, a conceptual theatrical design of Jennifer Haley’s play The Nether, pushes audiences to deeply consider the ethical dilemmas that could arise from virtual reality. My design emphasizes the isolation and dark reality of the real world while highlighting the surface level beauty of the virtual. This setting acts as an extreme contrast to the horrific actions that happen within the virtual world, making audiences fight to reach a clear resolution. 

This website design is for the annual Austin comic and zine festival, Press Fest. This year’s site was focused on artwork by Quimvaa.

This project is a spread for Cabra Magazine’s article and fashion photoshoot about hispanic heritage.

As the Free Rent ATX’s Graphic Designer, I created a full zine layout design showcasing 20 international and regional artists.

This project was a conceptual product design for Sofia Coppola’s movie Lost in Translation. Set in Japan, I focused on the traditional Japanese art style for the piece. I hand drew the fish and mountain range with an ink brush pen and then vectorized it through Photoshop and Illustrator. Water is a constant theme in Japanese art, so I added watercolor textures behind my hand-drawn symbols.

This is a conceptual set design of Othello. Othello is a dark, haunting play about Iago sinking Othello into deep anxiety, and I wanted the set to reflect that. The floor is crashing waves, since the unpredictability of the ocean and rain is a constant theme throughout Othello. Jagged abstract forms jet out of all four walls of the theatre, surrounding the audience like Iago does to Othello. Gentle moss hangs against these structures on each Vom top, expressing the ways Iago mascaraed as friend, only to try and kill the king, like moss does to a tree. Desdemona’s blind love for Othello is represented in the sheer fabric of a curtain draped across the stage. The curtain, delicate as Desdemona, later becomes stained in her blood, the green standing as a contrast to the deep red. 

This website design is for the annual Austin comic and zine festival, Press Fest. This year’s site was focused on artwork by Ashley Robin Franklin.

My conceptual set design for La Traviata centers around Violetta’s illness. As the play moves forward, her sickness becomes worse and worse. Her sickness is shown through cooper lines crossing over each other on the furniture. They become more dense on the set as time goes on. Colors slowly fade through each act. The flower chandelier that was once open in Act I is now wilted and closed in Act III. The portal has waved metallic details, moving like DNA across the borders. Large, thick curtains show wealth in Acts I and II.II, while thinner fabrics show the opposite. Act II has vibrant life in its earthy greens, contrasting against Violetta fight for health. 

As the assistant set designer for Mary Moody Northen Theater’s production of Three Musketeers, I worked directly with set designer Jessica Colley-Mitchell to realize her vision for this 1620s landscape.

Playwright: Megan Monagan Rivas

Director: Michelle Polgar

Set Design: Jessica Colley-Mitchell

Costume Design: Susan Branch Towne

Lighting Design: Kathryn Eader

Sound Design: K. Eliot Haynes

Makeup and Hair Design: Tara Cooper 

Properties Design: Leilah Stewart

Production Stage Manager: Robert Tolaro

Fight Director: David M. Long

NPR’s radio show “This I Believe” showcases every day people’s truisms or core values. In this assignment, we focused on creating a zine to highlight our own truisms. I wrote about the importance of compassion. We condensed our beliefs into a statement on the front and a paragraph on the back. Inside, we created a chromatic typeface and abstract images to exhibit our truism. The statement is simple and wholesome, and I wanted my design to reflect that. This is riso-printed, so I wanted to play with overprinting to create new colors. My background was zoomed in pieces of nature photography, which made a clean, organic texture. I put simple crossing lines within my letters to parallel the crossing leaves and branches in the background. When unfolded, the zine becomes a poster on the other side, displaying the same “compassion is key” phrase from before.

The goal of this project was to create an original typeface based on a single word: shipwreck. I imagined jagged rocks breaking apart the solid structure of a ship and tried to implement that harsh effect into my typeface. On the upper left of each letter, I added a serif that mimicked a sail and crashing waves. To embody the broken effect of a shipwreck, I tried to make everything have very rough edges, including letters with curves (like O and B).

This was my first window display design highlighted in the 2nd Street Shopping District during the winter holidays. I had a $500 budget for materials and about 3 weeks to plan, build, and install. We collaborated closely with the store’s owner to create a design with the elegance and sophistication of League of Rebels interior. 

This set of 12 posters explored the process of methodical, conditional design using a plotter machine. I had to first make a set of rules, and use that rule guide over again 12 times to create 12 different unique designs. I focused my design on albums I was listening to at the time. I image traced the cover art and set it out the same way each time. I then took the first and last song and spread them over each other in a diagonal line with the same spacing. I used a color wheel I had to choose the color palette of the piece. I took a piece of colored paper, and then I would go counterclockwise twice on my color wheel to pick which ink I used for the center. The rest of the ink would be white. All of it used gel pens and colored construction paper. I enjoyed the movement these pieces had with all the overlays, as if each poster was playing the album for you.

This is a conceptual set design of Bruce Norris’ Clybourne Park. This show flips between 1959 and 2009, and I wanted to highlight the changes between the decades long difference. Act I shows the house still relatively fresh, with this bungalow about 20 years old. The wallpaper is vibrant with newly painted walls around it. Going into the changes in Act II, small things are replaced and modified. Walls are knocked down going into the kitchen. Leftover paint and wallpaper is faded. Carpet is added to the living room. New white doors are added. The sky behind them is darker as tall complexes build up around them. A lot has changed, but many things haven’t, paralleling to the main conflict in the play. 

This project is a spread for Cabra Magazine’s article and fashion photoshoot about diversity in casting.