Big brands.
Harder categories.

Saatchi & Saatchi New York makes the regional retail advertising for Toyota's dealer associations: hundreds of localized pieces every month. In 2025 the team's innovation lab put generative AI to work on that output, and the agency needed a reel that showed what it looked like.

I created and produced it, and generated most of what you see. Nine Toyota models, from Tacoma and Tundra to bZ4X and Grand Highlander. Some shots are generated from scratch; others started as stills the team already had, brought into motion. A truck holds dead center while the world storms and glitches around it. Headlights switch on in the dark. Clouds boil over a ridgeline.

I planned it beat by beat against the track, cut it, and took it through rounds of creative review, from the opening logo sequence to the end card, before handing it to a colleague for the final pass.

The closing card says it plainly: 35% AI tech, 65% creative. The tools make the footage possible. Knowing which shot the brand needs, and exactly where it lands on the beat, is still the job.

I led the digital experience across email, web and retailer activations: CRM streams, PDP layouts, app tie-ins and live event support. The goal was to take a broad campaign idea and make it actionable at every touchpoint a parent actually meets.

For the Total Disney Takeover I designed a modular page system that showcased 19 Disney, Pixar and Marvel characters while flexing to retailer-specific rules. Components were tagged by IP, store and pack type, so one system could serve Target, Costco, Sam's Club and Walmart without rebuilding the layout each time.

For Costco alone that meant 12 above-the-fold graphics that carried product benefits with no copy, 8 below-the-fold assets each built in three formats, and tailored PDP videos where I handled storyboards, scene selection and edit direction. I also introduced voice cloning to speed up social content without losing character consistency.

#DunkinMugShot is a social challenge: buy any Dunkin' drink, then stage the most imaginative photo you can with it: props, costumes, pets, locations. Post it, tag Dunkin', challenge a friend. Weekly winners get featured, a monthly grand prize gets you into a Dunkin' ad.

Global Flavor Games celebrates the diverse identities of Dunkin' customers with limited edition donuts inspired by different countries' desserts. Customers vote online for their favorites, and the winners earn a permanent spot on the menu, so the campaign leaves something behind instead of just ending.

The concept imagery was AI-generated, which let us explore a far wider range of characters and scenarios than a photoshoot budget would have allowed at the concepting stage.

Motion-first social work for Froot Loops, built around the brand's one unbeatable asset: color.

The pieces use spiraling loop patterns and saturated repetition to stop a thumb mid-scroll, then hand off to a simple line. No product demo, no recipe. Just the most Froot Loops thing Froot Loops could possibly do.

Kellogg's Family Rewards needed a redesign to match the 2022 site relaunch. Over 20 distinctly different products and characters, each with its own voice, all still had to read as one family.

The framing we landed on: we're the frame around the photo. When it works, people don't notice us. They just have fun engaging with the foods they already love.

That system then carried an entire year of promotions: Feeding Reading, College Hoops and Football Sweeps, the Fandango Little Mermaid ticket offer, Minecraft MineCoins and Build for Better, Peanuts on Apple TV, Pop-Tarts Instant Win, Frosted Flakes x Puma, Summertainment, Breakfast For All, many built in both English and Spanish.

A run of Jebbit-built interactive experiences: the Cheez-It Game-Day Snacking Style quiz and its site companion, and the Pop-Tarts Year Supply Sweepstakes.

Each one is a real piece of entertainment first. Find out what kind of game-day snacker you are, tell us which Pop-Tarts flavor is best. It also happens to capture declared preference data the brand can actually use. The value exchange is explicit, which is why people finish them.

Alongside these ran motion-graphics social drivers built to pull attention from Facebook and Instagram into the experiences, plus a library of brand email templates.

Rice Krispies Treats already show up in the middle of family game night. The platform just made that official.

"Unwrap Extraordinary Moments" is the three films below: the product dissolving into a family mid-game, generated with AI so we could explore far more scenarios than a shoot would have covered at concept stage. The ask back to the audience was simple: show us how your family plays.

Then "Bragging Rights": an AR lockup that turns a Rice Krispies Treat into a trophy. Point your phone, snap a shot with the winner of whatever game you just played, post it with #treatyoucanplay. A wrapped Treat could even activate the AR and randomly pick the next game. The entry mechanic was a bot scraping the hashtag to build the entrant list automatically.

The Farm was Camel's independent music program, and the posters said the quiet part out loud: committed to supporting and promoting independent record labels. The work was show flyers for bands like Russian Circles and The Cave Singers, pub ads that ran as real listings, a newsletter covering the indie world and the label managers behind it, and a Fresh Picked Music compilation that put the bands into people's hands instead of just in front of their eyes.

It went physical too. The first Camel Beast House at SXSW in Austin ran branded and unbranded stages behind acts nobody had heard of yet. A lot of them you have heard of now. The brief was to put real money behind independent music, and that is what it did.

I also led the winning campaign for Signature Blends, a new product line, illustrated with another Chicago artist.

The Rolling Stone piece is the one people remember. A nine-page takeover of the 40th Anniversary issue, where I was lead conceptor and designer on Camel's three outer ad panels. The magazine ran a surprise editorial feature in the center fold-out that nobody on the agency side had seen before it printed, and its placement against our panels raised a compliance question under the tobacco Master Settlement Agreement. The campaign was pulled.

The lesson I actually took: when your creative theme and the editorial theme overlap, you have to see the whole book before it prints. Adjacency is part of the work whether you control it or not.

That gap was the whole campaign. A print-led extension of "Beef. It's What's for Dinner." that moved past artful meat landscapes to make an argument about health without giving up appetite appeal.

I helped define the "One Powerful Protein" positioning in the initial brainstorms, then partnered with illustrators to design plates that looked genuinely healthy and still photographed beautifully: T-Bone, Filet, Top Sirloin, Strip, Top Round, 95% lean ground.

I went to Beef University for the research, which is exactly as real as it sounds, to get portion sizes and health claims right. Then worked with NCBA to place it in Bon Appétit, Cooking Light, Men's Health, Self, Food Network Magazine, Women's Health, ESPN and Better Homes & Gardens, with a 20-market radio push for grilling season.

A full retail environment for Marlboro's U.S. duty free exclusive, taken from concept through to a built space.

The work covers carton and pack architecture: the Atlas and Frontier concepts, front and back systems, merchandised shelf sets across the full line. Then fixture design worked out in hand sketches, then renders, then the actual installed store.

Being able to show the sketch, the render and the photograph of the finished thing side by side is the part I care about. Most retail design portfolios stop at the render.

On September 27, 2015, a total lunar eclipse turned the moon red over the Americas. Red Moon Roundup counted down to that night: nine weeks celebrating the working skills of the American cowboy, with a new film and a new prize every week for adult smokers 21+ on Marlboro.com.

We shot the series in May 2015 at Buena Vista Ranch in New Mexico. Each film takes one skill and shows it done right: roping, taming a bronc, steer handling, moving a herd, penning it, branding, mending fence, horsemanship. This is the intro that opened the series.

I art directed it from the first concept round in January through the shoot and the edit, and across everything that sent people to watch: the weekly emails, the direct mail, and the promotional packs and cellophane wraps that carried the call to action onto the shelf.

Adult-only, age-verified direct marketing across Marlboro, Skoal, Copenhagen and Red Seal: coupon programs, retail headers, on-pack systems and reward mechanics.

This category has more constraints than any other: mandated warning language and placement, restrictions on imagery, on claims, on where a piece can legally appear and who can legally receive it. Every layout here was built around those requirements, not in spite of them.

Working inside that frame for years is where I learned that a real constraint makes the idea sharper. You stop reaching for the easy visual because it simply is not available to you.

Copenhagen has been made since 1822, and the brand's whole story is craftsmanship: a product made the hard way, by people who take pride in doing it right.

So we went to see it for ourselves. We traveled to Nashville, Tennessee with photographer and cinematographer Sandro Miller to film the process from the ground up: the farmers who grow the leaf, the tools they still work with, and the barns where it is fire-cured the way it has been for generations.

Meeting those farmers was the best part of the job. The film lets them tell it in their own words.

Global product launch work for the Nokia N-series (N70, N76, N80 and N91) spanning launch kits, box inserts, concept packaging and retail point of sale.

This was the era when a phone launch was a fashion launch, and the work had to carry that: mosaic hero imagery, poster systems for carrier partners, and a Gundam transformer POS build for the retail floor.

I'd been playing with AI for a while and started sketching how it could actually enter the creative process rather than sit beside it. The Orchard was a dashboard of action cards giving every discipline access to its own agents, engineered prompts and recommended applications.

The pitch: a copywriter looking for a line, a strategist hunting an insight, a designer after visual direction. Each picks the tools that fit the brief and builds a bespoke set. Start a project from a brief and it generates a Kanban board of tasks, each task laid into a calendar, each task linking directly to the AI tool needed to finish it.

I proposed it internally in 2023. The action-card pattern I was describing started showing up in real products within months. It is the direct ancestor of the agent system I run today.

Officially it's National Pizza Day. Unofficially it's National Pizza with Wings & Sauce Day.

The idea: take over the food delivery apps on the one day everyone is ordering pizza. Homepages, pizza order pages, competitor placements. Wingstop shows up with familiar snark to remind people that pizza needs wings and sauce.

Executed across the major delivery apps, including placements that ride directly on the pizza category pages themselves. Meet the craving where it already is.

I wanted to understand the space by shipping in it rather than reading about it, so I ran three experiments: physical items, unique digital art, and a generated collection.

The generated collection went the whole distance: research, intellectual property and trademark clearance, building the attribute set, generating the collection, minting, listing on a marketplace, then promotion, airdrops, giveaways and community building.

The honest finding: getting in was not technically difficult. Building genuine support for a brand nobody has heard of is the hard part, and it is the part established brands skip because they arrive with an audience and the channels to reach it.